Today on the show, I get to chat with Marielena Ferrer and Viktorsha Uliyanova, a multidisciplinary artist and educator working with alternative photography, installation, video, and fiber art. Her work explores impermanence, the notions of home, and cultural identity narrated through the prism of memory. Her practice is informed by her upbringing in the Soviet Union, political repression, and the immigrant experience. In her research, Uliyanova explores neglected and overlooked histories, often using archives as a catalyst for her work. She received her BA in English Literature, Language, and Criticism from Hunter College and an MFA in Photography and Related Media at State University of New York at New Paltz. Her work has been exhibited at Samuel Dorsky Museum of Art, Baxter St., MOMA PS1, Participant Inc, Collarworks, among others. She is the recipient of New York State Council on the Arts Grant, Arts Mid-Hudson Culture Grant, Traverso Photography Award, Women’s Studio Workshop SAI Grant, Sojourner Truth Diversity Fellowship, and Research for Creative Projects Grant. Recently, she completed a residency at Vermont Studio Center. She lives in the Hudson Valley and teaches photography at SUNY New Paltz.
Viktorsha’s upcoming solo exhibit “Quieter than Water, Lower than Grass” is a multimedia installation that examines the fragility of memory and its impact on history, immigrant narratives ,and cultural identity. This work explores themes of migration, belonging, and domesticity. The opening is November 8 at Roundabouts Now Gallery in Kingston, with a panel discussion on November 16 featuring Marielena, Viktorsha, and two additional women artists whose work addresses these same themes.
Today, we talk about the meaning of the show title, and how this Russian idiom permeated culture and played a role in repression and control. Viktorsha shares about the layers of her creative process and how this show came to be. We discuss some of the pieces, their meaning, the process in creating them, and the meaning behind that process. One of the main pieces in the exhibition is an installation of suspended large scale cyanotypes of “Brezhnevka”s, prefabricated panel buildings that were built in the Soviet Union from 1964-1980. They were built fast and cheap and can still be found and seen throughout former Soviet states. Our conversation weaves through themes of assimilation, (uniform)ity, culture, healing, memory, domestication, femininity, the multidimensionality of softness, and belonging.
Viktorsha’s Project Statement: “Quieter Than Water, Lower than Grass’” is a multimedia project that explores the intersection between history, memory, and photographic evidence. The work employs analogue photographic processes , fabric, and video to explore remembrance, storytelling, and ancestral healing. Drawing from family albums, oral histories, and archival images, I construct narratives
that have been hidden by the Soviet regime and are often invisible within the dominant historical discourse. The project takes its name from an old Soviet proverb which instills a behavior of keeping a low profile, avoiding any attention from the self, and acting in a way that does not
generate conflict. The phrase has been used as a deliberate linguistic tool to disseminate imperialist ideologies, generate fear, and maintain repressive socio-political tactics throughout the USSR. This project outlines the importance of critically engaging with mainstream narratives
in order to unlearn them and see their limitations and biases.
Quilts are powerful conveyors of the human experience. They are valuable historical documents and memory transmitters that honor storytelling and intergenerational knowledge. Using bed sheets , I hand-sew patchwork of imagery into quilt forms preserving not only my personal memories but also those obscured within the larger cultural and geo-political discourse.Each fabric piece will source from historical documents, family albums, and collected objects to explore, visualize, and underscore the complexity of post-Soviet trauma and immigrant experience. Blue is a color of peace, a color found in our dreams, our hopes, and our memories. It is the color of the sky, water, and our planet, Earth. The cyanotype process uses the natural elements of sun and water to register a photograph. While it is stable, the final result is prone to changing over time. Using this photographic technique allows me to address all of the themes that show up in my work such as identity, history, and memory, all of which are fragmented, mutating, and ever-changing.
The project combines a collection of materials and techniques that reference matrilineage, ancestry, and transgenerational trauma. Through layering of fabrics and utilizing the deep blue hues of the cyanotype process, the work visualizes histories that have been hidden, obscured, and lost. The project examines the selective nature of memory, challenging historical biases and emphasizing the importance of community knowledge and healing. The final project will be presented to the public in an exhibition fostering cultural exchange, community dialogue, and
bridging the gap between the personal and collective memories.
Here’s your New Moon Astrology!
Today’s show was engineered by Ian Seda from Radiokingston.org.
Our show music is from Shana Falana!
Feel free to email me, say hello: she@iwantwhatshehas.org
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