A visceral dance between nature and the built environment, Mariya's investigations live in the rupture of the form, the spiral that binds together the past and the present, the individual and the collective, the part and the whole. By extracting meaning from the science of body and nature, and through the experience of motherhood cast away in the life of an immigrant, she continues to define the context of her explorations.
Dissecting the fabric of one's own identity, the dynamics which make up oneself and the environment one lives in, the artist looks into heritage, origins and quite literally into the eye of a microscope. Mariya seeks to establish a sense of interconnection while questioning where the boundaries of the individual reside within the collective experience.
Inspired by microscope photos of pinecones. Considered to be a symbol of fertility pinecones form a perfect Fibonacci sequence in their design.
Looking into microscope photos of dissolved plastic, I noticed shredded umbilical cords in the water.
Inspired by microscope photos of plastic in water. Considered to be a symbol of progress the plastic produced to date is over 8.5 billion tons or about 55 million jumbo jets. Most ends up in landfills and the ocean.
Mariya is an artist who comes with skills in visual, traditional and performance arts, and has previously worked in costume and film production design. In the last four years, she has been developing a studio practice in sculptural work. Clay has been Mariya’s primary material which she questions through the application and interpretation of steel, paper, found material, projection and her own body.
A visceral dance between nature and the built environment, Mariya's investigations live in the rupture of the form, the spiral that binds together the past and the present, the individual and the collective, the part and the whole. By extracting meaning from the science of body and nature, and through the experience of motherhood cast away in the life of an immigrant, she continues to define the context of her explorations. Resolutions are less important than the observation of dynamic relationships in places of contact, break and imprint. Formal studies seek the tension and vulnerability of an impact within a circular time, where the conception of boundaries takes place in constant negotiation.
A form of “embodied earth,” where a feeling is submerged into an inner landscape to resurface through the process of creation, Mariya associates and merges the tangible and visceral sensitivity of clay with the body, and, therefore, considers her work performative. Mariya comes from a culture where the reverence to earth and soil is embodied in ritual, traditional song, bread, dance and customs. A celebration of life that flows over into a long lived practice in ceramics. Her childhood pastime of laying down in the warm meadows of wild flowers would deepen her relationship with nature even further. Yet, she discovered her passion for ceramics an ocean away. Displacement and uprooting forced her creative process into an intense self-inquiry investigating positionality within the immediacy of the physical and psychological environment.
Before Mariya returned to school to pursue her degree in studio arts, she worked as a film production designer, and was also actively engaged in the art direction for cultural events with the Bulgarian Cultural and Heritage Center in Seattle. She is an active and creative member in the Bulgarian community and works closely with the Bulgarian Cultural and Heritage Center in Seattle (BCHCS) in the artistic production of cultural events. She leads a monthly program for traditional arts and crafts for children called Tvorilnitsa. Mariya graduated from University of Washington School of Art in Design with a concentration in 3D4M (Three Dimensional Form) and a minor in Urban Ecological Design.
Learn more at Biomimi Healing Spaces.