katsiaryna-sheliahovich.gleamstudio.xyz

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D*******land is a series of sculptural works that examines how authoritarian systems act on the body, the voice, and memory. Developed from experiences of displacement and exile, the works focus on mechanisms of control, restriction, and persistence, and how these conditions are transformed into new forms.

GLOTTAL LOOP, 2025

Glotal Loop_Sound link

A Soviet-era aluminium garden sink is reworked into a rotating sound object. The sink functions as a bell: its record-
ed resonance becomes the sound material of the work, with the initial strike removed so that only the rising and fading vibration remains. The object rotates around its own axis, with sound coming from inside the structure. Chains, motor, speaker, and aluminium form a closed system where voice, pressure, and movement are continuously redirected without release.

Soviet-era aluminium garden sink, motor, speaker, chain. 300x25x35cm

FWU, 2025

Whips are transformed into vase-like forms holding flowers in laboratory test tubes. The work draws on the flowers carried by women during the B********n p******t and on the visual language of BDSM, bringing together symbols of care, discipline, vulnerability, and force.

The braided forms retain their original function while taking on a new role as containers. Positioned between object, ornament, and tool, they hold a tension between fragility and control.

Recycled rubber, aluminium, test tubes, flowers.

120 × 23 × 11 cm.

CRADLE FOR COILS, 2024

Part of the D*******land series developed during a period when returning to B****** became impossible due to political circumstances. The work was created in response to questions of speech, responsibility, and the consequences that political expression can have for those who remain behind.

Aluminium structure holding volcanic stones.

Aluminium, volcanic stone.

120 × 40 × 14 cm.

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Soft Entry Simulation, 2025

A hopscotch grid is drawn on the floor with transparent tape. The familiar childhood game becomes almost invisible, appearing only through light, reflection, and the viewer’s movement.

The work refers to the quiet speed with which public space and everyday behaviour can shift under authoritarian control. Play remains present as a structure, but becomes fragile, restricted, and diffi- cult to enter.

Transparent tape. Size variable.