Embroidery Artist Ksenia Semirova makes a statement with every stitch she takes. Ksenia melds a background in industrial design with a foundation in embroidery to create works of art with layers of meaning. Her national heritage is central to her work, and she balances that with current trends. Ksenia welcomes a creative challenge, researches her topics extensively and doesn’t shy away from difficult subjects
What motivates you creatively?
It is a really tough question! But the explanation would be really simple: the idea of discovery.
Why embroidery? How does that medium best express what you want to communicate through your art?
Embroidery is my passion. I feel happy and fulfilled while doing it. Such understanding was not easy for me. But I’m glad that finally it is clear. Better late than never? To be honest, embroidery was always with me from childhood. But Covid-time was when I stopped pretending to be someone else and started to do what I love.
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To me, embroidery is an opportunity to mix whatever material I want in a particular moment and improvise with techniques I currently know. Also, it is a way to express my feelings, ideas and beliefs that is best suited to my personality. It is neither painting nor fashion, but both at the same time. I can easily convert my idea from a flat surface to a three-dimensional object. And I don’t need complicated equipment for that, but several pieces of fabric, threads, and maybe a bit of beads, that can be converted to something versatile, even magical. So, I’m doing magic, sharing it and hopefully bringing a bit of happiness.
What do you do differently? What is your signature that makes your work stand out as yours?
I aim to make a finished product relevant to the current time but have my artistic vision and interpretation of such a demand. Usually, I don’t have the intention to make an embroidery piece just for the sake of craft. I’m trying to find a balance between current trends, craft skills and personal artistic expression. For example, it is highly important to keep a spirit of national heritage in my works. But honestly, I don’t think that many people are ready to wear outdated elements of traditional costume daily. Why not to interweave a piece of national pattern into something trendy, say, a tote bag?
Also, I believe it’s vital to be honest with customers and followers. So, I offer something that I wear day by day or what I am ready to put on my walls. I’m not a fashion house that competes through providing shocking looks. I’m a design and craft person who believe that embroidery (couture, creative, traditional) might be an organic part of life.
How does your experience with industrial design relate to the kind of work you do today?
To me, industrial design background is most of all a way of thinking, or better to say, a project-based approach to any challenge: when you can decompress a complicated task to the range of steps that can be easily performed.
When I started the course, I realized pretty fast that mass-production is not actually the area of my interests. And thanks to my course-leader, I was encouraged to interpret out briefs (or tasks) along the way
I feel that worked the best. Usually, it meant craft-oriented product for a specific target group. And it is actually what I’m doing today.
Are there recurring themes in your work? What is it about a subject that inspires you to continue exploring it?
Definitely my national heritage. Not in each and every project, but in the most significant ones. I finished the Foundation course with the project about studying the Russian Art & Craft movement and depicting its leaders through jewelry. During my BA, I’ve conducted research about identifying what is Russian style on an example of a jewelry company from the 19th century.
My BA final project was partly dedicated to studying Slavic symbols and interweaving such heritage to contemporary interior objects. The MA course was fully about studying pearl embroidery and applying the craft to the modern industry. Currently, I started a personal project that unites my previous research on ancient symbolism and the idea of traditional costumes. To me, it is particularly important to make heritage come alive, to creatively combine it with other notions. To preserve heritage in a box and hide it from the rest of the world means no evolution. My intentions are completely the opposite.
When it comes to creating, are you more of a planner or an improviser?
I’m definitely a planner. But my plans tend to change, shift and reschedule easily. And sometimes I need a plan to plan all my plans. And here I often become an improviser! It is like you have a huge reading list and you need to pick a specific book but choose absolutely differently. In the end, you’ll finish the whole list, but the reading order will be pure improvisation.
Tell us about the design and execution of one of your works. What were the steps from the first spark of inspiration to finished work of art?
The first spark could be just anything: something I’ve seen around, a piece of news, a conversation with a friend, a picture, etc. After that, I started my research. I think this part for me is the most time consuming. Even if the project is just a creative exercise, I spend quite a lot of time finding proper references, detailed images, similar projects (if any) which are a part of visual research. Sometimes it is enough. But if we are talking about a complex concept, it also requires significant context research, or simply reading. It is absolutely amazing to discover what people thought about the same idea, say, 50 years ago. Or 150. Also, each stage of research gives you more insights to discover. So, you can enrich the concept of something additional and get an absolutely unexpected idea.
Next step is searching for visual shape of the project, simply sketching. Usually, I don’t do tons of sketches. During the research, I more or less understand what I would do. So, it could be two or three sketches. Once I challenged myself to sketch 20 ideas. Guess what? The outcome was completely different from those twenty. The final step is creating—assembling everything into the product. At this stage I’m experimenting with materials, composition, techniques. I definitely have some limits, since on the stage of research the primary color palette, basic techniques, core materials were identified. But detailing and finishing are as much important.
So, about the work. The end of 2020 was a complete nightmare (I believe for a lot of people around the globe as well). Complete uncertainty, permanent curfew, horrible news, constant reading of medical reports—my routine at that time. It was clear that the New Year celebration would be out. No Christmas tree, no family cooking. So, I thought about creating some embroidery dedicated to Covid. I’ve already done a lot of research! But the spark has come from an absolutely different source.
I’ve watched Home Alone (another 101 times). And that’s how the series of Home Alone portraits appeared. Face expressions of well-known characters perfectly depicting my feelings and reactions to that time. There was no Christmas tree, but I’ve decorated my home with these portraits instead. I’ve also printed a t-shirt with Kevin’s iconic face expression (which was same as mine), since my face was constantly covered by mask.
Do you have a favorite technique? Why does it appeal to you?
Let’s put it this way: What technique is currently most precious? And it will be easier to respond. Traditional (or some call it “ancient”) Russian pearl embroidery is the most precious, valuable and meaningful technique to me for the following reasons. First, it is part of my culture and heritage (really “ancient”) that I’d like to share. Second, due to some factors, it has little to no creative development, which is, in my opinion, a huge omission. Third, I believe that working with craft traditions and heritage can help to establish a link not only between generations or people from the same background that are living around the globe, but also between various social groups through the cultural exchange.
At the same time, I don’t want to focus or limit myself with one technique. I try to make different projects that require absolutely different levels of design and craft knowledge and experience. Simply said, I’m open to experiments. But working and experimenting with national craft heritage is definitely one of my priorities and the field for my artistic expression.
When you design a piece, how do you decide which techniques will best achieve your vision? When designing contemporary pieces, do traditional designs and techniques play a role?
Basically, such a decision is mostly based on practice. For example, the final task for the course “Couture Embroidery Artist” (which I’ve completed in 2021) required to interpret A1 black and white illustration through embroidery. It was necessary to apply as many techniques as possible but keep it as an integral composition. After that, I assume you can instantly offer several possible solutions for any task. So, when it comes to decision, ideas are just popping up.
Regarding contemporary interpretation, I believe it is important to clearly identify what you want to achieve. If the goal is to make a link between past and present, it is necessary to adeptly mix such contexts, say, keep the traditional approach, but play with color palette or materials.
If outcome aims only at visual interpretation of some historical object, you can forget all the rules. The other question, what context such a project would offer? From my perspective, humanity has gained tremendous knowledge about design and craft, why would we forget? So, in my practice, traditional designs and techniques definitely play a role, but I reserve the right to play with that – definitely with respect and acknowledgement.
Can you tell us about the inspiration and process of one of your works? How does a new work come about? Do you try to make a statement with your art?
I find inspiration just observing around. And sometimes it is not only a beauty of the world. Pain, injustice, cruelty, brutal violence could be also an inspiration. And it is at that point when a statement appears. My MA project was inspired by all that. I decided that I can’t be silent about what in going on in my homeland. How violently the regime fights with female activists who openly protest against it.
My outcome symbolizes the idea of armor for those women who openly have claimed that they want another destiny for Russia. The collar asymmetry points out to the heart, referring to both Mediatrix iconography motifs and El Lissitzky’s famous poster, “Beat the Whites with the Red Wedge”. And the color palette “White-Blue-White” is an alternative flag of Russia promoted by international resistance movement. And since I believe that traditional craft and heritage is a perfect field to find inspiration for the new symbology (and also because I’m an embroiderer), I’ve chosen pearl embroidery as a starting point for creative interpretation to make an embellishment for my armor concept.
Additionally, I must admit that I’m absolutely fine when people don’t want to understand the intricacies of my complicated concepts but find something completely different for themselves. For example, I’ve got an offer to promote this garment for a bridal market, which was not part of the initial idea at all. Also, I discovered that the general public wants to know about traditional pearl embroidery and not just creative its interpretation. That was not part of the plan, either. But I’m happy to share.
Do you have a dedicated space for creating? If so, what does it look like?
My space for creating includes a cutting table, wide window and embroidery stand and frame. The window, or better to say natural lighting, is actually one of my must-haves.
What are the indispensable tools and materials in your studio? How do they improve your work?
Definitely, it is my favorite embroidery frame that is 120×70 cm. Using such a frame, I can do either a range of small pieces or one full scale garment. Embroidery is not really heathy activity, so spacious frames, comfortable chairs and ergonomic tools are something we need. Unfortunately, there are not so many options on the market these days. Good equipment improves the speed and quality of work. You know, when your neck aches a bit less, it really motivates you to spend more time with frame and hook.
Do you use a sketchbook or journal? How does that help your work develop?
I quit doing physical sketchbooks when I’ve finished my Foundation. Currently, all my design related processes are mostly digital. Even if I do some physical sketches, I scan everything after. I’m actively using Pinterest to collect and organize references and inspiring images. All my sketches and embroidery schemes I’m doing with iPad, Photoshop and Illustrator. Also, I’m preparing all my presentations via InDesign. To me, digital files are easy to work with. I believe that’s the way to unite traditional hand craft with the modern technology.
What plays in the background while you work? Silence? Music, audiobooks, podcasts, movies? If so, what kind?
Music accompanies all of my projects. Often, I’m assembling special play-lists that help to set yourself up to the right mood. I include absolutely different music on such lists. For example, for my “Home Alone” collages, I made a mix of The Weeknd, Stevie Nicks, Darlene Love and Ariana Grande. My MA project was inspired by a more complicated combination, including The Cars, Limp Bizkit, Matronix, Mabel, Karol G, Deep Purple and Snoop Dog. And I have no conscious explanation why it works that way. Probably, my subconscious gives me some clues about what sounds can help me stay focused. I know nothing about that!
If you could interview a creative person (past or present), who would that person be? What is it about that person that intrigues you?
My instant answer is Elsa Schiaparelli. To me, she is both one of the most creative persons and great businesswomen, or better to say, visioner. It is funny that in 21st century we still using a tremendous amount of ideas that she had discovered. I personally admire that her heritage can be developed and applied for both daily life and couture fashion. Also, she was one of the first who connected fashion with fine art. Additionally, she had influenced advertisement, product, and packaging design.
So, if I imagined I had a time machine and could travel back, I believe my interview would have covered questions about the future of design and fashion, her predictions about trends and industry development. I’m sure it would be a really insightful and unexpected forecast.
Do you think that creativity comes naturally to people, or do you think creativity is a skill that people can learn?
During my life experience, the answer to this question had been changing. When I decided to start design education (I was already an adult with previous academic background, work experience, etc.), some people told me something like, “Yes, you can try, but talent (meant creativity) is something you are “born with”, or “To start a creative profession you need to be young. Why spend your time on that? It is better to think about the family”. So that time, my answer to this question would be: “Yes, it definitely comes naturally. But at least I can try”.
When I’ve finished my Foundation, I know that “natural” creativity is a myth. It is actually hard work, the ability to see the world with open eyes, and a bit of courage. From a personal experience, developing creativity means saying “Yes!” to exercises like: “Go to shopping mall and do fast sketches”, “Make a collage without scissors”, “Use masking tape as an only medium to make a still life picture”, etc.
Currently, having just finished my MA, I believe that creativity is a skill that based on following:
- · Obsession – you must really love what you are doing. It is not your 8-hours job. It is your way of life.
- · Observation – our environment is full of ideas and clues. We need to keep eyes (and minds) open.
- · Experimentation – it is better to try and get experience. For this project, it might be a failure. For another one – perfectly right solution.
What do you do to develop your skills? How do you get better at what you do?
Embroidery is above all practice. There are a lot of talented masters that provide amazing workshops. I’m always happy to attend and learn something new (technique or approach), or just practice. I believe it is highly important to stay out of the box.
Also, one of my favorite exercises is observing an intricate work (ideally, original piece, but often – images) and figure out how it was done. For example, I’m a big fan of Game of Thrones. And costumes design and embroidery are one of reasons. Once, I decided to make an embroidery piece from the show (it was a Stark’s sigil) just for the practice. I’ve studied dozens of images and finally got my own interpretation. Such practice really boosts both craft and creative skills. Simply, you learn a lot of new “how-to-do’s” and thinking about application for other projects.
Another exercise is called “Make it 20” (or any number over ten). It is when you need to make 20 interpretations of one element or technique. First five will be really easy (you might even think how easy this task). Next five will be a bit of painful. And the next ten will be really stressful. But in the end, you will get an archive! And that’s how I worked to gain samples for my MA.
Tell us about your website. What do you hope people will gain by visiting?
I started my site (www.semirova.com) as a part of academic task – assembling a portfolio with personal design projects. Since I’ve had a bit of experience with running sites before, I thought it would be nice to spend some time and organize template, plugins, images, etc. Looking back, I can tell it was really time saving decision. It is still a portfolio, but now I’m focusing on my embroidery practice and trying to present not only final outcomes but also development process of my projects, which I believe help visitors to understand me (and what and why I am doing) better. Additionally, I’ve started the shop where some of my handmade accessories are currently available.
Interview posted October 2022.
Browse through more embroidery inspiration and projects on Create Whimsy.