Page 85 - Winter Issue

Nika Genesis was born in 2004 in Donetsk, Ukraine. Despite lacking formal art education, her passion
for creativity led her to Brighton, UK, in 2022, where she pursued a Foundation degree in Art at the
University of Brighton International College. She then advanced to a Bachelor's degree in Fine Arts at
the University of Westminster in London, where she currently lives and works.

‘’I am a mixed media artist who daringly explores the intensity of human experience and emotion through
an esoteric and conceptual lens. My work incorporates elements of ceramic sculpture, textiles, woodworking,
and found objects, all coming together in medium-scale installations. My style leans towards the industrial,
blending rust, metal, and plaster, while maintaining a delicate balance between the messiness of human
nature and the stillness of spiritual experience. I strive to create pieces that feel familiar, welcoming, and
nurturing to the viewer. Although deeply personal to me, my work remains accessible and grounded, acting
as a mirror for anyone willing to look. In my art, I seek everything humane amid worldly brutality, stripping
away the sugar coating to find comfort in what remains. It’s a reimagined rebellion that speaks softly and
confronts rather than hides.’’

How does your upbringing in Donetsk, Ukraine, shape the themes and emotions expressed in your art
today?
My life up until my move to the UK in 2022 was very isolating; I was stuck in my room most of the time, with nothing
much to do outside of it. It takes a horrible emotional toll on you, but at some point, you learn how to create your world
as a defense mechanism, which feels like slowly disconnecting from reality, but also gives you a unique personal
perspective and space for deep introspection. These things stick with me to this day, when I have the opportunity to
channel them into my creative practice, it almost feels like the younger version of me finally has a voice and confidence
to speak freely, to an actual audience.
What led you to pursue a creative path despite lacking formal art education, and how has your journey
influenced your artistic voice?
The beginning of my creative journey was a huge leap of faith (and it continues to be). I didn’t have anyone to show me
that there was a possible future for humans like myself, so I just had to have blind trust in what I felt, and I felt that
there was something out there that would be much gentler than my reality. I’ll admit that I’m constantly riddled with
doubts, but I notice that my best work comes when I fully give in to trusting myself.
Can you elaborate on your use of mixed media and how combining ceramics, textiles, woodworking, and
found objects enhances your storytelling?
I enjoy making things, and I like it when they look handmade, with lots of natural texture. That is what makes the work
look human, and relate to the creature observing. I'm always on the lookout for objects that look like they have a life of
their own: they have a soul, they are breathing. They have a life outside of the white gallery plinth. But I also think of the
origins of my chosen material, and the unique alchemy behind it: in the case of ceramics, textiles, and wood I call the
material to life, and dictate its purpose. However it’s the found objects that I use that give my work a contrast, I require
them to settle in this newfound environment, but that is up to the object, not me.
Your work navigates the tension between industrial materials and spiritual themes. How do you find a
balance between these contrasting elements?
When I was younger I had a deep interest in esoteric religions, I’ve spent a lot of time reading about paganism,
traditional witchcraft, Gnosticism, and alchemy. I have however struggled to attach myself to a certain set of beliefs of a
singular faith. So, I have based my artistic practice around creating that spiritual experience from scratch, with the
things that were immediately available to me, often industrial materials that I came across in my native town. I believe
that you don’t require deep religious knowledge or ritual equipment to practice spirituality, any object is fit for
transmuting the energy that you’re willing to work with. Everything you need is already in your possession.

85