Following my interest in and the observations of people, my art attempts to find the origins of and fundamental reasons for human activities. My art works with psychological analysis while expressing the inner physiology of the body. At the same time, as an artist I always research new ways of communicating/playing a game with the recipient.

My work does not seek to answer or decipher cultural phenomena. It is my intention to help the viewer problematize their own quotidian, in order to facilitate the distancing from the familiar, which is the space in which critical thinking and questioning takes place. My work gives neither answers nor specific critique to society. Rather my works poses questions and tries to establish 
a dialogue between the installations and the viewer. It is this dialogues propels my research.

The choice of media is directed by artistic thinking: game with the viewer. Over the past couple of years I’ve tried out different ways of facilitating communication, like detached neutral interpretation, shock, breaking / showing things, which we constitute 
as a taboo, and finally just to bring a recipient into a situation of inner insecurity and confusion.

Though originally interested and trained in printmaking, I decided to study china-making to be able to express the fragility of inner organs both in the visual and tactile dimensions. 

"When the artist Maria Volokhova said to me that she is "interested in the inner world of a human being", 
I’ve got slightly suspicious: there were a smell of banality and a risk of shallow spiritualism in this common phrase. After five minutes of conversation Volokhova’s interest in "human’s inner world" turned to be her artistic research of brain-nerves design, stomach’s volume, blood circulation system’s patterns and adipose tissues transparent qualities. 

Thus, it became clear that Volokhova understands "Inner World" in a very direct sense and for me literal perception of roundabout phrases is one of the sign of radical artists (as well as of stubborn children and straightforward punks): 
they don’t understand why "A reach man’s joke is always funny" and see animal abuse in "hit two rabbits with one shot". 

Direct approach to commonly “metaphorized” topics of human nature, paradoxically, makes presentation of spiritual values more indirect, as well as more revealing and interesting. 

Volokhova’s sauce-boats in shape of fetus and ashtrays with nerve-knot design and fatty-pellicle-tactility undoubtedly raise topics of human body perception and aesthetics of “anatomical” uncanny. 

The topological aspect of human body and its representation is the first that comes in mind when reflecting on the intestines-like-pot. First, this work sharpens pre-modern perception of “a body, which is a sack with a lot of smaller sacks inside of it”. 
Intestines are the thing, which is inside (a body), but still have its own insides, what makes exteriorized intestines still act 
as a container, a pot. From another hand, the persistent containing feature of intestines is in paradoxical union with their vast surface area (due to their function of absorbing nutrient substances from digested food). The container, the surface and the interlacing are all come in one here. Another peculiarity of this work is in its strong object-like nature. By serving tea with this pot one is holding “intestines/jejunum” in his/her hands. The thing that is supposed to be hidden and integral with the “whole body” 
is here in my hands as something revealed, independent and brought to light.

In spite of the fact that Volokhova shapes a “kitchen utensils” she is not a craftsman, nor a designer. Being interested in printmaking originally, she decided to study china making to be able to express fragility of inner organs both in the visual and tactile dimensions. If porcelain in its basics is treated as something delicate, than it is suitable material to intensify fragility 
of intestines. The choice of media was directed by artistic thinking: idea – first, media – second. 

Lastly, the functionality of “Jejunum teapot” is not just rejected, but subverted. It is not an item for domestic use, but in the same time it is not a kind of art for distanced observation. Yes, the “Jejunum teapot” is for tea service, but not to satisfy your thirst. 
It is to observe the miraculous transformations that can happen when tea, food as well as idea or memory pass through unseen “tubes” of teapot, intestines or human mind: changing its colors, smell and taste." 

written by Rodion Trofimchenko


born. in Kiev, Ukraine

2006- 09 Tokyo Art University (GEIDAI), Tokyo, Japan, Faculty of Ceramics
2005- 07 Postgraduate study, Department of Fine Arts, „Burg Giebichenstein“ HKD, Halle/Saale
2003 Ohio University, Department of Printmaking, Athens, USA
2000- 01 Accademia di belle Arte, Department of Printmaking, Bologna, Italy
1997- 04 „Burg Giebichenstein“ Hochschule für Kunst und Design, Halle/Saale, Department of Fine Arts, Painting/Grafics

Prizes and Scholarships:


Ceramics Symposium Rheinsberg


NASPA Prize 2016

Artist Residency for Jakarta Contemporary Ceramics Biennale, Semarang, Indonesia


59° Premio Faenza - International Competition of Ceramic Art / nomination
Frechener Keramikpreis 2015 / nomination
Wandellust, Workshop, Kahla Porcelain

Ready Set Award, runner up, Lillstreet Art Center, Chicago

Diessen Prize for Ceramics
Richard - Bampi Prize /nomination
NASPA Prize for Ceramics / nomination


Gyeongi International Ceramix Biennale / honorable mention

2007- 09

Monbukagakusho Scholarship, Tokyo


BKV - Prize 2007 for Young Applied Arts


„Artist in Lab“, Scholarship from „Art Association Sachsen - Anhalt“


Postgraduate Scholarship



Nah am Leben, James Simon Gallery, Berlin

Rokokowelten, new presentation of Porcelain and Fayence collection, Kunstgewerbemuseum, Berlin

Princess Slaughter, Atelierhof Kreuzberg, Berlin

Volokhova Porcelain, personal, Kühn Keramik, Berlin


Magie und Ritual, Museum Villa Rot

Moderne trifft Heute, Museum Tuch und Technik, Neumünster

Werkstatttage Reichenbach, Galerie Arcanum, Berlin

Totgesagte leben länger, Schloßmuseum Molsdorf, Erfurt


Vielfalt der Vervielfältigung, Porzellanikon, Selb / Arcanum Gallery Berlin

Alchemy. The great Art, Kulturforum, SMB, Berlin

Bearliner Ratte, Benhadji - Djilali Gallery, Berlin

The Golden Spittle, WOMA, Berlin

The Room of Desires, Gallery Raumwerk, Munich


4th Jakarta Ceramics Biennale, Indonesia

Focus: Vessel NASPA Prize 2016

Wandellust - Kahla Kreativ, Porzellanikon / Selb 

Porcelain Biennale Meissen

Design, Arts, Crafts - industrial and small series production, Keramion /Frechen

Sommerspiele - Festspielzeit, Gallery Handwerk, Munich

New Crafts, Beijing, Shanghai, China 
59° Concorso Internazionale della Ceramica d´Arte Contemporanea, Museo delle Ceramiche in Faenza
Ceramics Prize 2015, Keramion, Frechen
Design und Kunst im Zeichen des Porzellans, Bröhan Museum, Berlin


Anatomia Europy, Lodz
Contemporary Tableware, Lillstreet Art Gallery, Chicago
Salone Satellite, Milano
European Ceramic Context, Bornholm


Berlin Design Selection /Inventory, Miami
Walking Chair Gallery, Vienna
IM DIALOG MIT DEM BAROCK, Gallery Handwerk at Neues Schloss Schleißheim


 Aus Berlin, DMY in Cooperation with Gallery Diet, Miami, USA
Talents 10+1, Tendence , Frankfurt
BER-JFK, NoHo Design District, New York
Kuriositeitenkabinet: Wondertooneel der Natuur, Lloyd Hotel & Cultural Embassy, Amsterdam
Sweet Freaks, Trendshow at Maison&Objet, Paris
2011 GIC Biennale, Icheon, Republik of Korea
"Materials Revisited" - 10. Triennale für Form und Inhalte, Frankfurt am Main
La Seda, Berlin
"Poetry Happens - Made in Berlin", Milano
DMY, Berlin
"lieben was", Shedhalle, Tübingen
"Designersblock", London
2010 „Talents“ at the Ambiente 2010, Frankfurt
„300++Urban Life Design“ Contain Gallery, Cologne
„DMY“, Berlin
„Richard-Bampi Prize“, Hetjens Museum, Dueselldorf
„Wohnung“ ,LeCorbusier House, Berlin
„Design Act“, Moscow

2009 „Alien Art“, Tokyo
„Short Circuit: The Book and The Guts“, Tokyo
„Blau-Weß Weiß-Blau“, Munich
„BKV -Prize 2009“, Munich

2008 „Collage“, Craft2eu, Hamburg
„Grafisch“, LIA , Baumwollspinnerei, Leipzig
„48 Karat “, Halle/ Saale
ISCAEE Symposium, National Museum of Nairobi,
Sosabol Fine Art Festival Pyung Teak, Korea

2007 „Talents 2007“, Munich
„Sieh das kleine Söhnchen hier Mal zum Vater rennen“, Himmelreich Galerie Magdeburg
„Artist in Lab“, Moritzburg Museum, Halle/Saale
BKV - Prize for Apllied Arts, Munich
„Die Kunst der Tafel“, Museum für Kunstgewerbe, Hamburg