Christina Krey

Colourful porcelain spheres on the top of the grey concrete block

Flying colours, series

Flying colours

Above the gray quietude of indifferent cement blocks soar embodiments of pure form and colour. In her new series Christina deconstructs paintings of Ghirlandaio and della Francesco to distill the essence of their life-affirming spirit. Finding solace and order at the time of chaos and discontent. Projecting her hope of revival and rebirth of her war torn homeland.

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Medium:

Porcelain, concrete

Size:

40x30x40 cm

R+C

A sculptural combination of contrasting shapes, textures and colours, which stimulate sensory experience and embody visual tensions and balances.

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Medium:

Stoneware

Size:

80X60X70 cm

celadon contrast geometric interior object orange organic rust sculpture sensory-sensorial space texture

Music

This sculpture was inspired by the devices we use to interact with music. It is an abstract composition of speaker-headphones-instruments shapes and openings, which could transform sound waves into joy and emotions.

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Medium:

Stoneware

Size:

25x10x35 cm

bright circles music object orange sculpture

The ineluctable modality of the visible

Space is protean, time is implacable. The mind is restless. Constantly shifting, shuffling moods and dispositions. This work consists of three modules that give a viewer some degree of control over its overall appearance. Time splits and the universe is going in different directions. I was thinking of an old scroll and a wilting chrysanthemum in a shadow of a tokonoma in a traditional Japanese dwelling designed to capture the mood of a season, day, hour. But unable to decide on the mood I wanted to have many of them at the same time. Like in-wall rotatable panels in a Victorian reception room. But more solid, more permanent. Walter de Maria “Time/timeless/no Time” gave me an ultimate inspiration. A primal shape placed in a large empty room. A ball on top of the stairs. I see it moving and with deafening clocking noise rolling down. I turn my prisms, they capture light differently, the shadows stir, the space morphs around. The ineluctable modality.

The ineluctable modality of the visible

PDF: The ineluctable modality of the visible

Medium:

Stoneware

Size:

3 pieces 77x19 cm each

geometric interior module object pigments porcelain prism rotation sculpture texture triangle

Christina Krey is a British ceramic artist of Ukrainian origin.

She came from a multicultural and diverse background combining influences from Ukrainian, Russian and British cultural heritages.

Born in Kharkiv, Ukraine, Christina graduated from the National Law University (an Honour’s degree). Before finding her vocation in ceramics she was a practising interior designer and a mother of three.

Christina’s lifelong passion is art and the history of art. After completing a few courses at V&A Christina got engaged with clay and studied at Kensington and Chelsea College (London, UK). Her path led her to the RCA which has been an immensely enriching and forming experience.

She works with a variety of hand-building techniques, slip casts and throwing. For one of her projects, she developed a fabric-like porcelain material. She is constantly experimenting with raw materials, clay bodies, pigments and glazes. However, her work is not just an exercise in techniques but attempts and means to express the deeper truths of the human experience.

Recent exhibitions: “Fermenting” at Preston’s House (2023), Lighting the Onion Garden (Victoria, London) (2022), “Preface” at Pumphouse Gallery, Battersea Park (2022), WIP show 2021, RCA (2021).

Publications: Architectural Digest Russia, issue 9 (207) September 2021, 7 (185) July 2019, 5 (172) May 2018, 7 (163) July 2017.

“..what I had been taught was of little value to me except for the use of my materials as a language..” Georgia O’Keeffe

I believe that art has the power to transcend language and cultural barriers, and to evoke a sense of wonder and awe in the viewer. For me, art is a means of communication that is more direct and powerful than words. Through my work, I aim to engage the viewer and create a sense of contemplation and introspection.

My ceramic objects often involve simple geometric forms or repeated patterns, which emphasize the relationship between the artwork and the hidden structure of the world. I strive to create images that capture the essence of the natural world and of human experience, and that convey a sense of order, harmony and beauty.

My hope is that through my work viewers be encouraged to think critically about the world around them and to see things from a different perspective.

The act of working with clay is an intimate conversation with the elements. It demands patience, discipline, and a deep understanding of the materials behaviour. As I shape and model the clay, I become part of a timeless dialogue that stretches back to the earliest civilizations. I strive to infuse each piece with a sense of harmony and balance, marrying form and function in a way that resonates with both the user and the observer.

Ultimately, I believe that art could inspire and transform, and that it can serve as a catalyst for change in the world. Through my own artistic practice, I hope to contribute to this ongoing process of transformation and to create works that will resonate with viewers on both an emotional and intellectual level.

I think that through the act of creating art, we can connect with something larger than ourselves and can access a realm of meaning and significance that is often hidden from view.

Working with clay and ceramics is a quest for meaning, a way to connect with the timeless traditions of the past while leaving an imprint for future generations. It is a testament to the enduring power of craftsmanship, an expression of our shared humanity.

Christina Krey

Flying colours

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R+C

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Music

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The ineluctable modality of the visible

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Social

About

Royal College of Art