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Student Showcase Archive
Show RCA 2019

Xenia Busalova

Show RCA work

  • One day - one match: March, April, May till 9th

    One day - one match: March, April, May till 9th, Xenia Busalova 2019
    porcelain
    real size

  • One day - one match: 22 April

    One day - one match: 22 April, Xenia Busalova 2019
    porcelain
    real size

  • One day - one match: October, November

    One day - one match: October, November, Xenia Busalova 2018
    porcelain
    real size

Major project:

One day – one match

Every night, when the day is gone, I make one matchstick from porcelain. Those matchsticks, like temporal fractals, appear ceaselessly, one a day, composing the mathematical sequence by an append-only method. I fire raw porcelain in the kiln, assign the dates and keep those turned-to-stone matches in dated matchboxes. Though the date itself says nothing, only numbers, it unfolds when there is a story, an interplay between the subjectivity of that day and our cultural understanding. It is my daily ritual and commitment to represent the irreversibility of time in physical matter, signalled in every day I live. The fundamental venture of this collection is to translate real time into a physical dimension, to grasp the pure conjunction of passing time and expose the intangibility of time into an absolute tangible presence – to measure passing time in spatiotemporal units. Every day is closer to the last, and almost everything – fears, failures, expectations, etc. – falls away in the face of finitude, leaving only what is important.

Info

  • We are witnessing a purely fungible and pliable present in which words and facts alike can be processed and remade at will. Practically, truth is never a finished product and can be alternatively altered depending on the circumstances. Nothing is final and can be 're-said', 'revamped', and any previous moment can be recalled at any time. I don't trust anything – I find refuge in the truth of material, in the analogue tangibility of metal and porcelain, that cannot be altered once it is finished. I appeal to the visual and tactile as the most dominant and reliable senses of perception.

  • Previous degrees

  • Graduate Diploma in Fine Art, Chelsea College of Arts, University of the Arts London, 2017; MA International Economic Relations, Moscow State University of International Affairs, Moscow, 2002
  • Experiences

  • Director of international corporate banking, ALFA- Bank, Moscow, 2002–13
  • Exhibitions

  • 'Brexhibition', Dyson Gallery, London, 2019; 'RAW – Research As Work', Hockney Gallery, London, 2019; 'On being together; memberships, collectives and unions', The Partisan Social Club, Beaconsfield Gallery Vauxhall, London, 2018; '& anOther angle', Maxilla Space, London, 2018; 'Cooked And Raw', Liverpool Independents Biennial, Francis Ewes Publishing House & Gallery, Liverpool, 2018; 'Hot Dairy', Cookhouse Gallery, London, 2017; 'If you want it fresh buy it frozen', Chelsea College of Arts, University of the Arts London, London, 2017; 'Big Fridge', Safehouse Gallery, London, 2017
  • Publications

  • 'What if there is no time?', Le Grand K, (eds. D.Loyko, K.Tendl, A.Khora), Royal College of Art, 2019, pp.166–73
Royal College of Art