Follow Me
by Maria Koshenkova

Follow Me

Glass sculpture made using the classic technique ‘cire perdue’, lost-wax casting. In a complex process involving multiple castings, Maria Koshenkova covers rope with mould material, then burns the rope to create a cavity inside the mould. The cavity is filled with molten glass to create a replica of the rope. Each piece is kiln-fired for about two weeks.

Maria Koshenkova invites the viewer to walk alongside the object – to follow it. Not the way we follow something on Instagram, Facebook or other social media, but physically, in real life. The ‘cire perdue’ technique itself emphasizes the real-life, human touch by not creating a perfect replica but adding a degree of imprecision.

In ‘Follow Me’, Koshenkova turns the pliable and sturdy material of rope into hard, transparent, breakable glass. Conceptually, she sets out to explore and convey phenomena that contain a similar inner tension and paradox, such as life and death, freedom and control. A rope may spark associations to death, for example the hangman’s rope, but it can also be a lifeline or the safe escape from a burning building. A specific source of inspiration is the traditional Japanese sexual bondage practice Shibari, where rope represents the paradoxical notion of seeking freedom and release through trust, submission and restraint.


Approx. L 100 x T 20 x W 45 cm

Maria Koshenkova
Glass artist, b. 1981

Glass is the principal medium of Maria Koshenkova’s sculptural works, which often combine a Japanese-inspired aesthetic with a Russian sense of the dramatic. that but she often incorporates other materials, such as wax, wood, ceramic tiles, concrete and drawings, in her artistic process. Her objects do not have a utilitarian purpose but serve as vehicles for exploring concepts and ideas. In recent works she has focused on combining contrasting, even paradoxical, states or perspectives in a single object or installation.

Education and practice
2005–06: Royal Danish Academy of Fine Art, Copenhagen
2004: studies in glass design, Kalmar University (now Linnaeus University), Växjö, Sweden
2003–04: glassblowing course, Bornholm, Denmark
2004: MA, State Academy of Art and Design, St. Petersburg, Russia

Selected collections
Hempel Glass Museum, Nykøbing S, Denmark
The Ludwig Museum, St. Petersburg, Russia
Notojima Glass Art Museum, Ishikawa, Japan
Museum of American Glass, Millville, NJ, USA
‘New Collection’, The Perm Foundation, Perm, Russia

Selected grants and honours
2018: Grosserer L.F. Foghts Fond, grant
2017: Danish Arts Foundation, grant
2017: Knud Højgaard Fond, grant
2016: Hempel Glass Prize, Hempel’s Cultural Foundation
2015: Ole Haslunds Kunstnerfond, grant

Selected exhibitions
2018: [Title pending], Art & Mind Center, Nagoya, Japan
2018: ‘8th International Exhibition of Traditional Fine Arts’, Shanghai Art Collection Museum, China
2017: ‘Scandinavian Glass Starting All Over’, Glasmuset Ebeltoft. Denmark; The Glass Factory, Boda, Sweden; The Finnish Glass Museum, Riihimäki. Finland
2017: [No title], Aasiaat Katersugaasiviat/Aasiaat Museum, Greenland
2016: Hempel Glasmuseum, Nykøbing S, Denmark



More from this exhibition

Black Matter<br>by Anja Vang Kragh
Half Pieces<br>by Carl Emil Jacobsen
Sun Disc <br>by Cecilie Bendixen
All is Flux<br>by Gitte Jungersen
Aurora Borealis<br>by Iben Høj
Dissolved into the fabric<br>by Isabel Berglund
A Family<br>by Kasper Kjeldgaard
Knock them down with a feather <br>by Katrine Borup
Billy <br>by Kevin Hviid
Field of flowers (long winter poem) <br>by Louise Campbell
Follow Me <br>by Maria Koshenkova
Carbon Black <br>by Petra Dalström
LMA (Lick My Ass) – a chair<br>by Pettersen & Hein
SAKYU<br>by Rasmus Fenhann
Botanical Furniture Species<br>by Wednesday Architecture