Dasha Filatova

Dasha Filatova (b.1988) is a multidisciplinary artist living and working in London. She was born in Saratov, Russia where she studied fine art at the School of Arts from 1996 to 2001. She went on to study Fashion Design at the Design College in Moscow from 2003 to 2006 and moved to London in 2014, where she is currently completing a degree in fine art at the University of the Arts London.
Dasha’s work deals with the subject of the environment. One of the main focuses of the work is the relationship between nature and man; where Dasha places emphasis on the fact that man is an integral part of his natural surroundings. By looking at man-made objects and their often precarious existence in the natural world, Dasha explores a range of ecological issues, asking the viewer to accept their existence and contemplate their relationship with the nature around them. Through her work, Dasha endeavours to combine theories, such as Minimalism and Dimensionism, with considered abstract narratives, often with sentimental undertones, to draw viewers in and ultimately lead them to deeper consideration and discussion of her work, art as a whole and the politics attached to it.
Dasha works across disciplines, which range from physical sculpting, painting and analogue photography to video, sound and digital rendering formats, such as photogrammetry and augmented reality. She is particularly interested in experimenting with the notion of de- and re-materialization of physical objects, using digital processes. In Dasha’s work, analogue imperfections meet the quiet directness of the digital world. Her approach provides Dasha with dynamic ways of forming a narrative. Her work, however, avoids symbolism, often leaving the meaning open to interpretation.

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The Sprit and Matter

The project examines the banality of the everyday objects, their materiality, composition and mnemonic properties. This project's ambition is to subvert the found and disregarded into new digital and physical constructs, creating new disconcerted projections from the consumer on these new realms. Not only are these objects formally distorted into familiar yet ghoulish compositions, they are context has been rapidly changed to the digital and uncanny. Distorting past memories of the previous use and re-injecting these objects with a lexicon of nature in which their innocence originated from.

The Spirit and Matter, 2020, 3D video instalation. Click here

Intervention. We Have Never Been Alone

Work is actively relating to the environment and is based on ecological studies. It evokes an emotional response to the natural world around us. Both humorous and sentimental, the series of photos transform rarely noticeable episodes from everyday life into a remarkable experience. The sense of isolation of the moment focuses the attention of the viewer and provides the viewer with a conscious reflection on coexistence with flora surrounding.

Interwention. We Have Never Been Alone, 2019, print on papaer

That Dusty Morning

The “That Dusty Morning” images in some sense are containers with carrying memories. As a sponge absorbs the liquid by the same concept each photo holds the space, time and texture of that particular moment they had been taking. The dusty effect that usually has an association with something archaic together with a digital format constructs a contradiction that immerses the viewer into space where time becomes elastic and disintegrated. The series of photos creates poetic narratives that disallow solid interpretation.

That Dusty Morning, 2018, digital print on paper

Physical Liberation

“The purpose or meaning of the objects in the material or physical world has become insignificant. The transferring that occurred dissolved the objects in real-world and through rendering, reconstructed them in an immaterial or ‘ideal world’ where space and time became one.“


Physical Liberation, 2019-20, sculpture and video installation


The work explores the analogue photography process, image transition from two-dimension into three-dimension and visual perception of that transition.  The concept derives from a personal interest in communication inefficiencies between people, with complete understanding of never being fully achievable. The work also questions the communication process in the modern world. The COMLOSS is made of analogue processed photos with the pictures of communication wires and created in layers. The intersections between the layers and connection between wires depend on the viewer’s observation point.

COMLOSS, 2018, film, photograph, prints on paper

Simulation. Object 002

Simulation. Object 002, 2020, plastic sculpture

Simulation. Version 001

Simulation. Version 001, 2020, installation

As Long As I Can Hold My Breath

The work confronts the subject of nostalgia as a mental phenomenon and the nature of its stimuli.  In particular – deep analysis through observation and the study of psychological research. Analogue imperfections coupled with the unconfused quiet directness of the digital world create a surrealistic atmosphere. The formats used and combined in the right way provide the dynamics to form a narrative, consciously avoiding forms of symbolism. The abstract element of work opens the door to discussion of what is the nature of nostalgia, can we separate it from memory feeling, what are the primary catalysts and are they common among all people?


As Long As I Can Hold My Breath, 2019, video and sound instalation. Click here

Once You Have Seen It

Once You Have Seen It , 2019, print on papaer