b. 1995, Minsk, Belarus:
Dasha Loyko’s current concern lies in the relationship between the subject and the object (such as the self and the other) with a particular focus on the abject, as defined by Kristeva in ‘The Powers of Horror’. The concept is characterised by the feeling of horror or disgust at the threat of a loss of meaning when the boundary between the subject and the object disappears. Supplemented by the analysis by Mary Douglas (dirt as matter out of place), she is fascinated by the role (and, subsequently, the breakdown) of order and hierarchy in our perception of the everyday and, likewise, the hierarchy within art production, valuation and consumption. Questioning the established order in the art world leads her into the field of institutional critique. She feeds on the ideas of John Cage and John Baldessari, especially the latter’s seminal exhibition ‘Pure Beauty’. By rearranging familiar patterns, be it physical rearrangement or tricking the audience’s preconceived expectations, Loyko creates a new experience. Her current work is a practice-based research of the matter where theory underpins practice. Tropes such as handwriting and mirrors recur in her work. Both are used as an aid to rearrange and point out something which largely goes unseen or assumed, such as someone’s prejudice to a work of art or one’s own reflection in it and its role in the interpretation of what is seen.
Born in Minsk, Belarus, Dasha Loyko has lived in England for the past seven years. She is now at the emerging stage of her career and is currently a student of Philosophy at the London School of Economics and Political Sciences (LSE). Loyko works across various media (painting, collage, installation, performance, photography, film), with a recent focus on collage and installation.