The art research Ceramics in Augmented Reality for ‘My Mother and I’  theme is supported by DYCP Arts Council England.

I am delighted to embark on the art research project titled ‘My Mother and I,’ which is generously supported by the DYCP Arts Council England, commencing in April 2023. Over the course of the next nine months, I will immerse myself in a captivating journey of research and development, collaborating with artists, mentors, and tech experts. Together, we aim to discover innovative approaches to reflect on memories from infancy.

I am very humbled and honoured to receive this grant and start experiments in a ceramic studio using new AR/XR technologies. Thank you all for inspiring, supporting, mentoring and believing in my practice research. I extend my gratitude to all those who have inspired, supported, mentored, and believed in my artistic endeavours.

The inspiration behind Ceramics in Augmented Reality (CAR) project was driven by my aspiration to develop new skills and explore novel experiences for the ‘My Mother and I’ workshops, where clay and Augmented Reality merge harmoniously. With a strong focus on engaging with diverse art communities through experimental workshops, CAR serves as a testing platform for multicultural reflections on the contemporary image of the Mother. The project will specifically concentrate on developing a series of immersive techniques tailored to ‘My Mother and I’ art workshops.

Through practical research, I want to investigate how to combine working processes with clay and AR within a group setting. The goal is to find suitable techniques for deriving images from the unconscious.  I will invite artists to test different AR devices to create cross-disciplinary artworks based on interactions between the real world of physical making and the unreal world of superimposing AR.

Throughout the project, I will visit visual and text libraries, museums and galleries across the UK, will learn the secrets behind the AR and ceramic media, will expand my knowledge through diverse sources. I am committed to maintaining an ongoing dialogue and sharing the work in progress with art and educational communities.

I am eagerly open to discussions and collaborations, valuing the collective exchange of ideas.

The next update will appear shortly.

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The research, in theory, brought many questions and ideas on how to schedule and plan the first workshop.

The partners in the research are James and Marius from, who facilitate the part connected to Augmented Reality experiences.

My humble gratefulness goes to Arts Council England  Rochester Square ceramic studio and to James Edward Marks and Marius Matesan

The workshop’s main focus was to test the grounds of the ongoing research and to provide a safe environment for participants to try to recall their memories.

The ten-person settings included four tables for tactile experiences and work with clay and two points for experiments with augmented reality. Hololens and mobile phones with the ARVID app.

Below are the links to the workshop environment and outcomes from working with clay.

I also prepared sketchbooks from handmade paper with 8-12 pages for each participant. The handmade paper pages have little pieces of flowers, plants and hairs. The state of not being able to remove hair from the page might trigger some unconscious memories. The feedback was positive, and I will share a few insights into the memory recollection sketchbook insights, but later within the project timeline.


The most popular activity with many commentaries was playing with sand and building the castle. The video is by participant sculptor Barbara Beyer.





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The weeks (actually months) before the first workshop were very hectic. It is surprisingly difficult to work and be creative within an unknown field. The outcomes could lead to unexpected positive or disappointing conclusions. The main question for now is how to present each stage of the finding during the public workshops. How do you summarise the research and which technique will go ahead to be public but which could stay silent for longer?

At the current stage, my research is focused on finding techniques which might be useful for the recollection of memories from childhood. In the beginning, my mind was messy and overwhelmed with the theoretical readings I got from my mentors.

But when I started regular practice at the ceramic studio, slowly, the research started taking shape. In June/July, I visited the Yorkshire Sculpture Park and studied in situ the artwork of Barbara Hepworth, and Henry Moore. I walked in the fields of the sculpture park and felt the atmosphere of freedom, space and entanglement in nature, and I experienced unexpected creative and profound moments. Maybe it is trivial, but I noticed how chaotic ‘collective life in the forest’ is. Each tree, bush, and small plant is developed considering the mathematical structures of fractales. But the order becomes chaotic when they are entangled in-betweenness and togetherness in living next to each other. Every single one is struggling to get sun from the above and nutrition from the soil. I paralleled the human order and chaotic existence on streets, public spaces, academies, family gatherings, manifestations and art studios. These spaces are often seen as a den full of small treasures (human and non-human) but are hard to see in order, even when authorities are in place. There are main arteries and passages to put an order to chaos, but still, individuality shows off and attracts the sights. With this blog, I tried to put some order to my disordered and stressed state of the research. I believe that by working and physically engaging with the clay and AR I will finally have a new system and structure of unknown merge.

The first step was to go to Yorkshire Sculpture Park. I did sketches and took photographs—the process of sketching offers a relaxing time. I then recalled Tony Hull’s last year’s series of podcasts based on Drawing and Trauma Processing. 

But, drawing took lots of time, and I felt that the time was slipping from me. I had only five days to absorb the atmosphere of the North. I found that my mind and sight are greedy for new information. So I walked around unknown spaces all day and evenings. This greediness pushed me to realise how short human life is on Earth and how lucky we are to experience it in the abundance of relationships and connections with different structures, human and non-human (including all types of species, even new digital creations). Every encounter brings a new turn for the mindset, sometimes minuscule and sometimes as huge as the sound of a thunderstorm. I also learned these days that the initial fear of going out and doing new things alone brings more information for sharing with my colleagues and trivial phrases such as ‘I was there’ and ‘I’ve seen it’. The process of standing at the new geo locations offers the body an unexperienced presence connected to new landscapes, sounds, visuals and past shreds of evidence embodied on the surrounding scapes. The traveller far from my location also released me from the anchored permanent location and made me the creature of the world with each of my cells and atoms. After COVID 19 this was my first trip alone into the country.

I visited the Barbara Hepworth Museum and The Mine. The following video links capture the essence of my trip.

I found that the tactile movements over surfaces bring sensations of forgotten experiences.

This was one of the directions I started following after the trip.

The contract with the studio Rochester Square started on 1 July 2023, and allowed me to dive into the world of clay, research and new discoveries.

Here are a few photos from the trip to Yorkshire Sculpture Park.


The next thing I wanted to share is how slowly the creative process of focusing on the unknown is. I started grasping clay and techniques for recollection of memories, but the Augmented Reality is also the challenging point. I thought to be trustful of how the research develops; of course, I could show everything in the best visuals and narrative stories. However, I hope someone will read my lines later

and be inspired by the weakness and strength of the art research within the attempt to merge two different media: clay and AR.

  • A journey of a thousand miles starts with a single step.

I downloaded the application Arvid and went into the local park to walk and recall my childhood moves inside the playground. The whole AR installation took time to build – about two hours. I was there walking and moving my phone like an insane character. People were stopping and asking me what I was up to, what I could see, and how many selfies were already on my phone. Some of the commentaries were humoristic.

I also built a wooden house next to the tree:

Further progressing into using different tools and strokes, I realised that because we were in a static position when we were infants and could reach with the hand, only the objects and surfaces around 50sm-1m could be used within the exercise with clay. The Augmented Reality activities bring us to the toddler state of mind when changing location is a vital element of development.

The mobile application could assist in tracing the visual journey of the explorative sight views and corporal body.


Preparation for the Workshop 1

Preparation for the first workshop was a real challenge regarding the idea development, experiments, and finalisation of the workshop plan.
I realised that my routine at the Rochester Square studio follows the motto of my art practice, which is the quotation by Louise Bourgeois:

‘A determination to survive at whatever fragile level you can achieve’.

I was accepted to join a project space at the RS Ceramic Studio for a period of eight months. Since July, every day in the studio, I spend next to ceramists, potters, and artists. It is a challenging environment for me in connection to ceramics; everyone speaks a professional language, and I try to catch up with techniques suitable for the workshops concerning memory.
The processes I work on are far away from creating lines of perfect caps,  geometrically excellent vases and bowls, evoking ceramic sculptures. I struggled to work on my research but not observe studio members. The whole environment is an art scene itself. They walk in slow moves, and they work with grace on throwing wheels. When bushing clay drafts, their movements remind the lifting of the rod, and when they work with glaze, one imagines magic to come after the final firing. I realised that the glaze process is even more unpredictable than printmaking. I witnessed perfect shapes were completely destroyed by the high temperatures. When the lot of bisque firing goes to the kiln for firing above 1060C, no one is sure what will come out.
The most fascinating feature of Rochester Square is that all members are extremely friendly and share their knowledge with dedication to skill improvement. I appreciate all the conversations and advice from every one of Rochester Studio’s residents. By setting up the atmosphere of my new creative home, I want to stress that my experiments look strange in comparison to pottery craft or professional ceramist routines.
My project research is dedicated to finding art techniques for clay and AR suitable for the recollection of memories from childhood.
For three months, I worked on experiments, trying to connect the tactile experiences in clay with the process of evoking memories. Currently, I am experimenting with augmented reality software on my phone to find connections to my memories in walking mode.

At this stage, I found that clay and AR could be assigned to two different modes of early development. The clay static creative mode is similar to a baby’s first months of growth, horizontal position in a cradle, bed and baby chair, being held in parents’ hands, on shoulders, and later sitting position. The development goes through observing, touching with hands and mouth, and subsequently rotating the objects available in a hand reach.
The AR creative experiences could be connected to the crawling and walking phases. The main element of the AR is to create digitalised lines, sculptures, passages, and tracks connected to movements in space. Both media could be related to experiments in the recollection of memories.
I started work on the project with experiments in mixed clay where lines of the preexisting pattern metaphorically connect to the preexisting setting of the family/adopter environment with a set of specific national and family culture, traditions and customs.

The next experiments focused on finding rhythms between my hand and my heartbeats. I worked on carving the bowl when listening to my heart with a medical stethoscope.

I created a life-size womb using coil-building techniques when listening to the records of my and my artist-partner’s heartbeats.

I found how difficult it is to search for the visuals of the womb’s growth, but not the baby, to find the womb’s outside colour and the inner surface look. Because available pictures are mostly B&W and are from scans of the babies’ growth. I also found that the human placenta is called ‘The Tree of Life’. I tried to mimic one and inserted it inside the clay womb. Applied glaze in three weeks. After firing, the glazed surface from inside and outside mirrors the real one. It looks like a real womb but was unsuccessful, and, now exists in two parts. The process of working on it and listening to the white noise from the womb brought a few ideas for the workshop.

I also worked on nine life-size hearts, considering the size of the heart and thinking about who might design our life-engine. The shape of the heart perfectly fits into the palm…