Andrii KYRYCHENKO

The "Lotus" series emerged as a creative challenge — an attempt to find balance between decorative and academic art.

Its name comes from the first piece in the series: a semi-nude female figure meditating in the lotus position.

Over time, the series evolved, and the echoes of its origins have become harder to trace in recent works.

Yet one thing remains constant: all elements are made on the potter’s wheel, using both traditional and original ceramic techniques. Here, the academic figure takes on an aesthetic form that belongs to the language of ceramics.

"Gravity" 2020

Ceramic, chamotte, pottery, modeling, glaze,

electric kiln firing 1200 degrees.

40197 cm

The image of this piece undeniably contradicts its title. The figure, as if defying gravity, freezes mid-air. Even the visible support doesn’t inspire confidence — it seems that at any moment, her hands might slip from the clay, leaving the earth with the last thing that bound them.

The sculpture's technical complexity is beyond doubt. Yet glazing it is no less challenging: its apparent lightness is deceptive, concealing serious technical demands.

"Black Pearl" 2019

Ceramic, pottery, modeling, glaze,

electric kiln firing 1200 degrees.

18128 cm

This sculpture emerged at the midpoint in the development of the series.

The figure has changed its asana, leaving the lotus pose behind. For the first time in the series, detailed, graceful feet appear — previously hidden beneath drapery.

Particular attention is drawn to the contrast between white and black clay, which have remained untouched.

The contact of such materials in the process leaves a trace on the sculpture that cannot be removed afterward.

Such purity is achieved only through the constant honing of skill.

"Lotus" 2019

Ceramic, chamotte, pottery, modeling, glaze,

electric kiln firing 1200 degrees.

252313 cm

This is a classic piece from the series: a female figure meditating in the lotus position, on the verge of ecstasy.

It was works like this that marked the beginning of the series, originally conceived as an exercise in stylizing academic sculpture using authentic ceramic techniques and textures.

Over time, this exploration led to new series, where traditional pottery transformed the objects of study into abstract figuration, opening up new artistic horizons.

Several other objects from the series

The presented selection reflects only a part of the artist's exploration within the series' aesthetic. Some works are not included due to their monumentality and the need for a different mode of perception.