Exploring Anna Perach’s Artistic Journey

As I sit with Anna Perach in her sunlit studio at Gasworks in London, she shares how “I’m led by the story.” Behind her, vibrant threads create a kaleidoscope of colors. Her work, infused with a sense of humanity, draws on folklore and fairy tales.

The sculptures beckon to be touched, their soft, colorful surfaces are, as Perach describes, “aesthetically overwhelming.” Her pieces explore the delicate boundary between the body and the world, evoking a childlike urge to delve into their comforting textures. This hollowness invites viewers to envision a body within, reviving the sculptures through performance during exhibitions.

I grew up on a lot of carpets. They’re heavy and peculiar, yet they create a sense of comfort.

Born in Ukraine, Perach’s roots in Soviet aesthetics strongly influence her work. The instinct behind her tufted carpets feels intuitive. “I grew up surrounded by carpets,” she remarks, noting their odd yet comforting essence. She reflects on the dichotomy of surplus and scarcity in Russian taste, which continues to inform her practice. “I work intuitively from what I know, and I think that’s true for all of us,” she adds, connecting her unique perspective on carpets to the phrase “clean it under the rug.” Perach smiles, saying her art reveals “what’s under the rug.”

For her upcoming exhibition at Richard Saltoun in London, Perach has crafted a series of sculptures and works on paper inspired by E.T.A. Hoffmann’s “Sandman” from 1817. The narrative includes a moment when the automaton Olympia malfunctions publicly, illustrating her true mechanical identity. This pivotal scene inspired Perach to create two identical sculptures shaped like Victorian dresses, which will be animated in the gallery. She seeks to provoke contemplation about the nature of separation, or glitch.

“It’s not inspired by AI,” she promptly clarifies, although the story’s discomfort resonates with contemporary concerns about automation. “The dread surrounding automatons or AI reflects how they challenge our humanity, prompting us to question it,” she elaborates. The exhibition is titled “A Leap of Sympathy,” a nod to philosopher Henri Bergson, which points to our tendency to assume those around us are fellow humans. Perach’s work challenges that assumption.

This is her first foray into incorporating mechanics or robotics into her sculptures. In collaboration with choreographer Luigi Ambrosio, sound composer Laima Leyton, and performer Maria Sole Montaci, she emphasizes her evolving role. “I increasingly view myself as a director. I can’t master every craft,” she states, appreciating the diverse expertise her collaborators bring to her vision.

Perach deliberately navigates the intersection of craft and art. “It pushes the craft elements to the extreme!” she expresses. This aspect of her work also engages with femininity, a realm traditionally tethered to craft, particularly textiles. Her carpet figures disrupt conventional hierarchies by defying the norms that often elevate painting and sculpture in marble or bronze. They draw inspiration from Eastern European visual traditions, showcasing vivid masks and traditional folk attire.

Although she has begun exploring other materials, like glass, she struggles to part with carpet. “It’s generous and adaptable, easily manipulated,” she explains. Initially, she cut existing carpets for sculptures but sought greater control over her materials. Her process now blends mechanical and manual methods, ensuring she knows the origin of her supplies: “I know where my thread came from,” she asserts.

Perach’s work reflects a long view of history and existence. “I’m captivated by the divide between spirit and material,” she conveys. She is drawn back to trauma’s essence, moving from a magical understanding of the world towards something more scientific—a hallmark of modernity. “As we mature, both as individuals and a society, rationalization becomes unavoidable. Yet, there’s a part of my work that resists that,” she notes.

Discussing the fresh inquiries raised by AI and digital progress, she points out that many of these concerns are indeed ancient. Highlighting stories like Hoffmann’s and Mary Shelley’s “Frankenstein,” she reminds us that long before concepts like ChatGPT existed, we wrestled with the threats posed by an inhuman sensory experience. Reflecting on these essential themes, she concludes:

There’s a leap of sympathy at Richard Saltoun, London, from May 15th to June 24th.