Kristina Pashkova (1992, Novomoskovsk, Russia) lives and works in Moscow. She graduated from the Lipetsk State Technical University as Public Relation specialist (2014, Lipetsk). She was a graduate of the Free Workshops of MMOMA (2020, Moscow) and is a student of Institute of Contemporary Art of Joseph Backstein (since 2020, Moscow). She is a participant of the art-group Textile Laboratory (since 2019, Moscow) and a member of the Creative Union of Japanese artists Sumi-e (since 2020, Moscow). She participated in many group exhibitions since 2020 and her works have been exhibited at the Smena (Kazan), Moscow Museum of Modern Art, the Museum of Moscow, Winzavod, the Zverev Center for Contemporary Art and the State Tretyakov Gallery on Krymsky Val.

Kristina Pashkova participates in the art group Textile Laboratory, an art-group of female artists, formed online during the pandemic. Today, the project involves artists from different countries, all with different artistic backgrounds. They all share an interest in mixed techniques and experiments with textiles, embroidery and weaving. Artists meet weekly online and offline to discuss their current work and collaborative projects. They exchange ideas, make common plans and formulate artistic tasks and group strategies.

Artist's website and Instagram.

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1. "Make Kapotnya Great Again", textile flag at the Museum of Moscow, 2021. Exhibition view, photo by Vladislav Efimov; 2. "Labyrinths", textile flags at the State Tretyakov Gallery on Krymsky Val, Moscow, 2021. Photo by Natalia Drachinskaya; 3. "Impossible feast", tablecloth, 2020-2021. Photo by Natalia Drachinskaya; 4. "Untitled", textile book, 2021. Photo by Irina Konstantinova; 5."Diaries", tapestries at Smena, Kazan, 2022; 6. Artists working place, 2021; ​​7. "Thinking about 20-s" tapestry for 52proposalsforthe20-s, 2021. Photo by Irina Kara; 8. Tapestry making process, 2021; 9. "Resident Evil Village" tapestry, 2021-2022; 10. "Untitled" video, 11:58, Textile laboratory, 2022.
Artist statement

I weave, sew, do collages, appliques and installations using fabric and textile materials. My themes are: the practices of everyday life, digitalization, the limits of the norm, utility. I combine tradition and progress, fabric and web, material and digital. Two other important things in my work are time and observation.

I use my grandmother's Union sewing machine. Often I use only old clothes, scraps, found fabrics, exploring the way textiles hold traces and memories. Now, I am interested in the fact that weaving is an ancient craft associated with women's labor, collective action and also with technology, computer programs and screens.

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