Natalia Abramishvili
Ceramicist
London, United Kingdom
Giving a ceramic form to the intangible
- Natalia explores the intersection of emotion and material through ceramics
- Based in London, her creations evolve within an international context
- She works with clay as an unpredictable collaborator
Natalia Abramishvili creates sculptural forms that feel both intimate and universal, working predominantly with hand building techniques. Born in Moscow and initially trained in international relations, her path into art unfolded gradually. After working in advertising and interior design, a visit to the 2017 International Biennial of Contemporary Ceramics Carouge fully drew Natalia into the world of ceramics. "Since then, clay has become my primary language," she says. "I investigate memory, transformation and the delicate balance between control and unpredictability." Natalia further developed her skills at Fondation Bruckner in Switzerland, and later completed an MA in ceramics and glass Royal College of Art.
INTERVIEW
My path to ceramics was not immediate. I studied international relations and worked in marketing, but there was always a persistent need for artistic expression. Everything shifted after I visited the International Biennial of Contemporary Ceramics Carouge in 2017. The experience revealed the expressive potential of clay, and I was completely drawn in.
Clay is a living material. It resists, transforms and ultimately freezes a moment in time. I am drawn to its unpredictability, the fact that the final result is never entirely under my control. In this sense, the material becomes the co-author of the work.
Each project begins with an idea that requires time to mature. I immerse myself in research, develop sketches and models, and move through multiple cycles of experimentation. Failure is an essential part of the process: forms collapse, surfaces shift and the work evolves beyond its initial intention.
I am interested in making the intangible perceptible, such as emotions, memories and internal states that are difficult to articulate. My aim is to invite the viewer to pause, reflect, agree or disagree, and engage with the work on a personal level.
