katya vaz

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	<title>katya vaz</title>
	<link>https://katyavaz.com</link>
	<description>katya vaz</description>
	<pubDate>Tue, 13 Oct 2026 16:24:11 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://katyavaz.com/Home</link>

		<pubDate>Sun, 12 Dec 2021 15:57:28 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

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		<title>Information</title>
				
		<link>https://katyavaz.com/Information</link>

		<pubDate>Sun, 12 Dec 2021 15:57:28 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

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		<description>About&#38;nbsp;
Katya Vaz (b. 1999 Moscow, Russia) is a multidisciplinary artist based in New Orleans, Louisiana. Her artistic practice explores how emotional connections shape our perception of physical spaces, often depicting them through evocative imagery that feels like a glimpse into someone’s memories.Drawing inspiration from memories tied to place, Vaz explores the emotional and physical connection between culture and the environment that cultivated it, and how they, in turn, shaped us. By examining the tension between the natural and the built environment, the work investigates ideas of living with instability and transformation principally through processes of degradation and accretion, as well as others rooted in natural principles, such as corrosion, drawing, heat, and submersion. Drawing remains at the core of Vaz’s practice. Through these methods, Vaz reflects on the iterative and interconnected quality of the ecological systems while creating works that remain open to expansion and change over time. 

These ideas take form through installations that assemble various material explorations in dialogue with one another as well as with the viewer. The work considers the environment not as a static backdrop but as an evolving system shaped by continuous interaction. This multiplicity mirrors the evolving relationship between landscapes and cultural systems, suggesting that nothing exists in isolation but rather as part of a dynamic and interconnected whole.


	EDUCATION
In Progress
Tulane University
Master of Landscape Architecture
Master of Science in River-Coastal Science &#38;amp; Engineering

2021 Loyola University New OrleansBachelor of Design, Graphic Design

2017
New Orleans Center for Creative Arts
Certificate of Artistry


Portfolio - Français

CONTACT
katyavaz124@gmail.com


 SOLO EXHIBITIONS
2026
 “La goutte qui déborde du vase”&#38;nbsp; 
Fondation des États-Unis, Paris, France
“Un certain regard”

George Marshall Center - Hôtel de Talleyrand (US Embassy), Paris, France


2024 “Go I know not where”
Good Children Gallery, New Orleans, LA
GROUP EXHIBITIONS
2026
“Mosaic Bridge: Between Sound and Sight” 

Fondation des États-Unis, Paris, France“Saudade: Mémoire et traces” 
Fondation des États-Unis, Paris, France
“Her Verses Unbound”
Fondation des États-Unis, Paris, France

2025“Winter Liberty”
Fondation des États-Unis, Paris, France

 “Survey #25”
SHED Projects, Cleveland, OH“Our Point in Space”
Acadiana Center for the Arts, Lafayette, LA“Refreshing America”Contemporary Arts Center New Orleans, New Orleans, LA
2024 “Louisianais.e”Acadiana Center for the Arts, Lafayette, LA2022“Louisianais.e”
West Baton Rouge Museum, Baton Rouge, LA2021
“...for our consideration”
The Front, New Orleans, LA

“After”
Diboll Gallery, New Orleans, LA

2019
“Clusterfunk”

Dana Center Gallery, New Orleans, LA
group exhibition for Vans “Off The Wall”
Cafe Istanbul, New Orleans, LA
 2018“Nature by Design”Loyola University Design Department, New Orleans, LA 
2017“Continued Dreamers”
5 Press Gallery, New Orleans, LA
“Revoir”
Contemporary Arts Center 
New Orleans, New Orleans, LA
	RESIDENCIES, GRANTS, AWARDS
2025 Fonds des initiatives résidentes (FIR) Grant
Cité internationale universitaire de Paris, Paris, France
Fulbright-Harriet Hale Woolley Scholar 2025-2026
Fondation des États-Unis, Paris, France
The Brackish Artist Collective 
Artist in Residence
The Water Collaborative, New Orleans, LA
2024
Joan Mitchell Center Artist in Residence
Joan Mitchell Center, New Orleans, LA
2021
Design for Good Award
Departmental Thesis Award for Samizdat
Loyola University New Orleans

CURATORIAL &#38;amp; GRAPHIC DESIGN PROJECTS
2025lead graphic designer
Musique(s)!
Archived at the American Folklife Center at the Library of Congress, Washington D.C.

co-curator+preparator pop-up exhibition, “Atis Rezistans”
The Historic BK House &#38;amp; Gardens, New Orleans, LA


2024co-curator &#38;amp; graphic designer, “Haiti-Louisiana: Tides of Freedom”
The Historic BK House &#38;amp; Gardens, New Orleans LAUnited Nations, New York City, NY
2023exhibition design, “300 Years of French and Creole Histories”

The Historic BK House &#38;amp; Gardens, New Orleans, LA&#38;nbsp; Université de Bordeaux, Bordeaux, France
PRESS

Artistes en résidence : dans les coulisses de la Fondation des États-Unis
5th Floor Scholar Series : La nouvelle scène artistique américaine se révèle
Katya Vaz – La goutte qui déborde du vase
Mid-Year Meeting Fulbright France 2026
Joan Mitchell Center: In the Studio with Katya Vaz


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		<title>Letterpress</title>
				
		<link>https://katyavaz.com/Letterpress</link>

		<pubDate>Sun, 06 Feb 2022 20:28:56 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

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		<description>Letterpress
words you can feel...&#38;nbsp;
Request Letterpress Printing and/or Design&#38;nbsp;&#38;nbsp;Email zaikaforeverpress@gmail.com for more information.
Offerings: event invitations, stationery sets, original design prints, show posters, (nearly) anything your heart desires...


	Letterpress Examples
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		<title>01</title>
				
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		<pubDate>Tue, 13 Oct 2026 16:24:11 +0000</pubDate>

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&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/565efc300fbd4a708a9856a5f75feba0b4d12d6283e990f240c33c33f017421f/2026-06-13_Saudade-68.jpg" data-mid="253266532" border="0"  src="https://freight.cargo.site/w/1000/i/565efc300fbd4a708a9856a5f75feba0b4d12d6283e990f240c33c33f017421f/2026-06-13_Saudade-68.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/adddee5efa4b9cb1790a026b0b7cd07f12d39526fb3c1f09fad2df024add26be/2026-06-13_Saudade-152.jpg" data-mid="253266537" border="0"  src="https://freight.cargo.site/w/1000/i/adddee5efa4b9cb1790a026b0b7cd07f12d39526fb3c1f09fad2df024add26be/2026-06-13_Saudade-152.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/6d0e9bef9fcef834ba20f30de303fd5c8871351e1013ed19319e6fec26d260de/2026-06-13_Saudade-138.jpg" data-mid="253266536" border="0"  src="https://freight.cargo.site/w/1000/i/6d0e9bef9fcef834ba20f30de303fd5c8871351e1013ed19319e6fec26d260de/2026-06-13_Saudade-138.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/b3cb875262a33221456b507896b00ca945196b83afdb1bd5e79cd2e192723d4d/2026-06-13_Saudade-165.jpg" data-mid="253266538" border="0"  src="https://freight.cargo.site/w/1000/i/b3cb875262a33221456b507896b00ca945196b83afdb1bd5e79cd2e192723d4d/2026-06-13_Saudade-165.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/59e86de14cb43e968a2ac27e6d115fcc3dba80e74c5feae3991baeda33b4401e/2026-06-13_Saudade-193.jpg" data-mid="253266539" border="0"  src="https://freight.cargo.site/w/1000/i/59e86de14cb43e968a2ac27e6d115fcc3dba80e74c5feae3991baeda33b4401e/2026-06-13_Saudade-193.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/f0d24fb6f4dbea1ac784798538998a0d6798b941092a80d89efd011b484982fd/2026-06-13_Saudade-87.jpg" data-mid="253266534" border="0"  src="https://freight.cargo.site/w/1000/i/f0d24fb6f4dbea1ac784798538998a0d6798b941092a80d89efd011b484982fd/2026-06-13_Saudade-87.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/daef424f840f37314b6782c9ae8a4a8fc15dfebe3b6894db7d87a53ca13647a3/2026-06-13_Saudade-241.jpg" data-mid="253266540" border="0"  src="https://freight.cargo.site/w/1000/i/daef424f840f37314b6782c9ae8a4a8fc15dfebe3b6894db7d87a53ca13647a3/2026-06-13_Saudade-241.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/6f57faf8473eadf25924e98f7da4ee73f4186d37a905c7b5d215eeb5d7bac26a/2026-06-13_Saudade-246.jpg" data-mid="253266541" border="0"  src="https://freight.cargo.site/w/1000/i/6f57faf8473eadf25924e98f7da4ee73f4186d37a905c7b5d215eeb5d7bac26a/2026-06-13_Saudade-246.jpg" /&#62;&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/beea4ee5455270ee2a655f7fd2f3c5e5b63632b8329b25f1594a30c7709a95f8/2026-06-13_Saudade-273.jpg" data-mid="253266542" border="0"  src="https://freight.cargo.site/w/1000/i/beea4ee5455270ee2a655f7fd2f3c5e5b63632b8329b25f1594a30c7709a95f8/2026-06-13_Saudade-273.jpg" /&#62;Saudade, Mémoire et traces, 2026

Created and presented at the Fondation des États-Unis in Paris, France. 
Supported by Le Fonds des initiatives des résidentes at the Cité internationale universitaire de Paris.
In collaboration with-
Lily Stern, cellist
Dayton Hare, composer
Anne Handeland, cellist
Sigrid Sand Angelsen, composer
Lexie Krakowski, cellist
Samin Moradi Fard, composer
Esteban Jiménez, cellist
David Ruíz Molina, composer
Abbas Al-Hassani, electrical engineer
Paige Noelle Miller, art writer and historian
 
Photography by Tristan Zbar
Performance
	Saudade, Mémoire et traces centers on the idea of cultural memory and nostalgia through a live concert and art installation. How do we preserve a person, a place, an experience? A unique Portuguese word, saudade describes the yearning one feels for an absent something or someone. Thus, Stern and I invited composers from a variety of cultural backgrounds to write works based on this theme, to be debuted by cellists of the same nationality. The invited composers and cellists were of American, Norwegian, Canadian, and Spanish nationalities.
During the performance, the vibrations of the cello are transformed into visual works using elements of heat, light, and water to capture the physicality of the live performance, as well as in an effort to preserve the ephemeral sound. The tailpin of the cello was placed into a strip of sheet metal sitting atop a wooden plank. The metal conducted the vibrations of each unique composition to a wine glass of water on the other end to create cyanotype prints of the rings of sound. Simultaneously, the cellist’s playing was transformed into heat through silent amplification, engineered by Abbas Al-Hassani. The works were interpreted on thermosensitive paper

 in the form of traces using a wire heated by the playing.&#38;nbsp;
The musical program was as follows-
Dayton HARE (b. 1996) 
scenes from the garden of memory (2026) 
Lily STERN, cello
Sigrid SAND ANGELSEN (b. 2000) 
saudade – for solo cello and fixed material (2026) 
Anne HANDELAND, cello
Samin MORADI FARD (b. 1993) 
Chamari – Hymn for the survivors (2026) 
Lexie KRAKOWSKI, cello
David RUIZ MOLINA (b. 1979) 
Suite de viajes por Andalucía, para solo cello (2026) 
I. “A Doña María y las Tres Villas” (Almería) 
II. “De Grazalema a la bahía” (Cádiz) 
III. “45 notas en Adamuz” (Córdoba) 
IV. “Del Albaicín al mar” (Granada)
 V. “De Aracena a la marisma des río Odiel” (Huelva) 
VI. “De Despeñaperros a la almazara” (Jaén) 
VII. “De Ronda al sol” (Málaga) 
VIII. “De Doña María al corazón de Triana” (Sevilla) 
Esteban JIMENEZ, violoncelle
The performance was followed by a discussion guided by Paige Noelle Miller to better understand the intentions of each composer as they were writing their piece, as well as the act of performing from the cellists.“Saudade lives in the body long before it reaches the tongue. Though the concept is often described as a linguistic problem—a Portuguese word without an equivalent—to feel it is, first and foremost, a physical event. Saudade embraces a range of profound longings, from a tender memory to a sense of structural absence, a geographic ache, or a historical trace of displacement. 
Like the French concept of an empreinte, a lingering physical impression like a footprint or a trace of pigment, we approach saudade as an emotional impression. It is a lump in the throat, a weight in the chest, a flutter of butterflies in the stomach. These are the body’s way of keeping an inventory of loss. The installation gives that internal archive a physical form. By recording fleeting musical vibrations directly onto the paper and giving shape to sound, we can move past the frustration of ‘untranslatable’ language to make the invisible landscape of longing a tangible space you can witness, touch, and hold.”

-Paige Noelle Miller</description>
		
	</item>
		
		
	<item>
		<title>02</title>
				
		<link>https://katyavaz.com/02</link>

		<pubDate>Wed, 13 May 2026 08:48:47 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/02</guid>

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width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/0d2bcd76e190951277315d6bf8b10636c3b04db8c461f20e5b05461fa075e360/KATYA.VAZ-GREGOIRE.PERRIER-IMG_0352.jpg" data-mid="248252986" border="0"  src="https://freight.cargo.site/w/1000/i/0d2bcd76e190951277315d6bf8b10636c3b04db8c461f20e5b05461fa075e360/KATYA.VAZ-GREGOIRE.PERRIER-IMG_0352.jpg" /&#62;La goutte qui déborde du vase, 2026

Created and presented at the Fondation des États-Unis in Paris, France.
 
Additional sound residency with Augustin Braud and Fabien Enger at La Muse en Circuit.
 
Photography by Grégoire Perrier
Vernissage Performance

Videography by Jérôme Somonnian
	

La goutte qui déborde du vase, or The drop that overflows the vase, takes its name from the French idiom, La goutte d’eau qui fait déborder le vase–equivalent to the English, The straw that broke the camel’s back. This body of work investigates the role of a river in an urban setting, specifically, the Parisian Seine, exploring our relationship to the built environment. It questions our own notions of comfort and livability within a city, but also the unintended consequences of the very infrastructures that make urban life possible. As a result, we lose our connection to the element that originated the city and whose functions allowed it to flourish. 
Drawing on pivotal texts and dialogues, the body of work is informed by both historical and contemporary perspectives. Histoire d’un ruisseau by geographer Élisée Reclus serves as a primary inspiration, as well as Gaston Bachelard’s L’eau et les Rêves, which informs the introspective dimension, particularly how fleeting and changing encounters with bodies of water reveal insights about ourselves and our environmental relationships, especially in the face of industrialization. These literary influences are complemented by encounters with water rights organizations in France, such as BatoLabo and Les Soulèvements de la terre, lectures by architects on designing for environmental risk zones, as well as through recurring exchanges with eco-anthropologist Léo Mariani of the Muséum national d'Histoire naturelle, which have been crucial in shaping the theoretical grounding of the works.
The primary materials used throughout the works are those emblematic of construction materials – sheet metal, glass, and concrete – punctuated by charcoal drawings, each chosen for its transformative qualities. Sheets of metal are rusted in an interpretation of data charts of the height of the Seine River over the past twelve months; glass is engraved, allowing erosion itself to reveal the imagery of the islands of the Seine, both of those that have disappeared and of those still present; concrete captures the traces of time passing; charcoal embodies a transformation from raw natural substance to a drawing tool, used to study images of the city pared down to light and shadow. 
Light and sound further extend the work’s dialogue with perception and environment. Light is introduced as a dramaturgical device to evoke the subtle shifts that normally remain silently observed. The rhythm of the commissioned sound piece by Augustin Braud and Fabien Enger submerges the viewer into a sound bath, using a mixture of sound captures of materials used within the works, modular synth, and jazz trumpet, while the shadows cast by the glass engraving are joined by those of the viewer. As these shifting reflections and shadows unfold, the work invites viewers to reflect on the fragile balance between control and change that defines our relationship with the river. How much longer can we sustain rigidity before we must embrace instability ?


</description>
		
	</item>
		
		
	<item>
		<title>03</title>
				
		<link>https://katyavaz.com/03</link>

		<pubDate>Mon, 09 Feb 2026 14:21:47 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/03</guid>

		<description>&#60;img width="5193" height="3945" width_o="5193" height_o="3945" data-src="https://freight.cargo.site/t/original/i/9e1811d1abbc64374c461a14bf509e3c66154c3423da2f90755123b5c0a1f844/IMG_0407.jpg" data-mid="244627867" border="0"  src="https://freight.cargo.site/w/1000/i/9e1811d1abbc64374c461a14bf509e3c66154c3423da2f90755123b5c0a1f844/IMG_0407.jpg" /&#62;&#60;img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/44e2a69d48418da81764a3964aeecd4dbaf3e4df827bb1f13f08300bf98f2708/IMG_0256.JPG" data-mid="244627218" border="0"  src="https://freight.cargo.site/w/1000/i/44e2a69d48418da81764a3964aeecd4dbaf3e4df827bb1f13f08300bf98f2708/IMG_0256.JPG" /&#62;&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/57084f414f6c63e8f28fe4b5b94cf8fcad1fd17ed621d958a20302ca1cd9620e/IMG_1417.JPG" data-mid="244627249" border="0"  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data-src="https://freight.cargo.site/t/original/i/a0dfefb2c0657f19b0328a463ed739998325aef62476beb108e399f53700b55c/IMG_1425.JPG" data-mid="244627256" border="0"  src="https://freight.cargo.site/w/1000/i/a0dfefb2c0657f19b0328a463ed739998325aef62476beb108e399f53700b55c/IMG_1425.JPG" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/31c2fdebfcf3cf2004a41297a95a5943ac468bce4560114008338e38d0f9439c/IMG_0420.JPG" data-mid="244627224" border="0"  src="https://freight.cargo.site/w/1000/i/31c2fdebfcf3cf2004a41297a95a5943ac468bce4560114008338e38d0f9439c/IMG_0420.JPG" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c42f4fb8023d3bfc810d8c5c93f8818cc4b88f69d9abcff964814a8ea7f772f6/IMG_0417.JPG" data-mid="244627222" border="0"  src="https://freight.cargo.site/w/1000/i/c42f4fb8023d3bfc810d8c5c93f8818cc4b88f69d9abcff964814a8ea7f772f6/IMG_0417.JPG" /&#62;&#60;img width="5863" height="3909" width_o="5863" height_o="3909" data-src="https://freight.cargo.site/t/original/i/1ad113c208677201c212f48f1adcb3154204e0ac9224250d3f5a28ff61f4d963/IMG_1434.JPG" data-mid="244627262" border="0"  src="https://freight.cargo.site/w/1000/i/1ad113c208677201c212f48f1adcb3154204e0ac9224250d3f5a28ff61f4d963/IMG_1434.JPG" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/532c088c25cbfb01e9c284e1b0c347a8ec351c1dc1048065d457495043efa1be/IMG_0426.JPG" data-mid="244627228" border="0"  src="https://freight.cargo.site/w/1000/i/532c088c25cbfb01e9c284e1b0c347a8ec351c1dc1048065d457495043efa1be/IMG_0426.JPG" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/374986d6adf22af253ea6f794cd842d79b9e58df610d42b7f365285e29634a93/IMG_0424.JPG" data-mid="244627226" border="0"  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data-src="https://freight.cargo.site/t/original/i/1c12e95e0b5741ea6c2b8f560e6e3d16069f018f37f72433769302544d6a7d92/IMG_0231.jpg" data-mid="244627217" border="0"  src="https://freight.cargo.site/w/1000/i/1c12e95e0b5741ea6c2b8f560e6e3d16069f018f37f72433769302544d6a7d92/IMG_0231.jpg" /&#62;Un certain regard, 2026

Created at the Fondation des États-Unis in Paris, France, for the Fulbright France Mid-Year Meeting at the George Marshall Center - Hôtel de Talleyrand in Paris, France.
	

Un certain regard investigates the ghosts that become embodied within the present moment. The works integrated throughout the rooms reflect on the passage of time and the necessity of understanding how each moment accumulates. Even when individual moments slip from view, they remain essential. Time is not erased but layered, its presence felt through accretion rather than visibility. Yet, a look through the window is an attestation of such gradual transformation, in preparation for the next glance. 


The glass block sliding puzzle comprises three photos of the Place de la Concorde– one from the early 20th century, a screenshot from Google Maps dated 2019, and one from the present day. These similar shots will never align perfectly, rendering the puzzle unsolvable. Each intervention from the viewer creates a new image. Similarly, our versions of the past, present, and future rarely coincide. They are continually shifting and reforming. 


The fractured glass engraving imagines the fountain designed by Guillaume Coustou for Louis III Phélypeaux– a fountain lost to the later construction of the Rue de Rivoli– while other engravings offer views of various windows in Paris. 


Wooden panels evoke parquet floors, emblematic of French royal interiors. The mounted images depict details of the Hôtel de Talleyrand woven together with another façade in Paris, combining the seemingly disparate aspects of the city to form a continuity of various realities and histories existing simultaneously. Are memories not abstractions and fragments of our past through the lens of the present ?


</description>
		
	</item>
		
		
	<item>
		<title>04</title>
				
		<link>https://katyavaz.com/04</link>

		<pubDate>Tue, 13 Jan 2026 16:26:20 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/04</guid>

		<description>&#60;img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/a84163b66089d1023fb97a8b0f9d738546265024fd15d0ba06963a7108f8ce9f/vaz_eversincethen_1.jpg" data-mid="243198182" border="0"  src="https://freight.cargo.site/w/1000/i/a84163b66089d1023fb97a8b0f9d738546265024fd15d0ba06963a7108f8ce9f/vaz_eversincethen_1.jpg" /&#62;&#60;img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/a51eb17df58a7cc63b69b17304d86ba323333b83cc0b801eef422e5394b0cb94/vaz_eversincethen_3.jpg" data-mid="243198184" border="0"  src="https://freight.cargo.site/w/1000/i/a51eb17df58a7cc63b69b17304d86ba323333b83cc0b801eef422e5394b0cb94/vaz_eversincethen_3.jpg" /&#62;&#60;img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/9f78213f9b058e35758b2f5cb39d094f36a6895bc34910e551df6e463535a245/vaz_eversincethen_4.jpg" data-mid="243198185" border="0"  src="https://freight.cargo.site/w/1000/i/9f78213f9b058e35758b2f5cb39d094f36a6895bc34910e551df6e463535a245/vaz_eversincethen_4.jpg" /&#62;&#60;img width="4189" height="5632" width_o="4189" height_o="5632" data-src="https://freight.cargo.site/t/original/i/a37f05f802d6510541e6eaee628e91f330437bab4e465d3e62daa907ad41861b/vaz_eversincethen_2.jpg" data-mid="243198183" border="0"  src="https://freight.cargo.site/w/1000/i/a37f05f802d6510541e6eaee628e91f330437bab4e465d3e62daa907ad41861b/vaz_eversincethen_2.jpg" /&#62;eversincethen, 2025

Created + presented at the Fondation des États-Unis in Paris, France
	In eversincethen, digital elements have been introduced to create a starker contrast between the natural graphite medium and subject with modern construction. The graphite drawing reveals the delicate patterns that rainwater creates in the sand and earth, forming feathery structures. It rests on the ground, inside a backlit box, usually used for advertising, allowing the graphite lines to glow with a diaphanous light. Behind it, an eight-second video shows a construction site pouring gravel for a riverside structure, projected onto the wall. Drawing and video enter into a silent dialogue. One evokes the natural association of water with peace and serenity, the other recalls the implicit violence of the commodification of nature. The work seeks to establish a balance, taking into account both human and non-human needs, and to reflect on how our knowledge can be used for the common good.
</description>
		
	</item>
		
		
	<item>
		<title>05</title>
				
		<link>https://katyavaz.com/05</link>

		<pubDate>Sun, 12 Dec 2021 16:24:57 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/05</guid>

		<description>&#60;img width="2354" height="3570" width_o="2354" height_o="3570" data-src="https://freight.cargo.site/t/original/i/079e3143f41a6500bac02c6da81d46713ae9d58232c2d2d08af127bb01c88383/knownotwhere_front.jpg" data-mid="217640086" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/079e3143f41a6500bac02c6da81d46713ae9d58232c2d2d08af127bb01c88383/knownotwhere_front.jpg" /&#62;
	Go I know not where, 2024
Joan Mitchell Center + 
Good Children Gallery&#38;nbsp;
	A series of work begun in residence at the Joan Mitchell Center in 2024, Go I know not where&#38;nbsp;is inspired by the Slavic folkloreism and social geology. The title comes from the story Go I Know Not Where, Bring Back I Know Not What, which tells a royal huntsman whose spared bird-wife helps him through perilous trials. Barbara Henry’s analysis highlights how this tale reflects the transition from magical to practical elements due to industrialization and environmental change. Reflecting this theme, the show explores water’s dual role as both generative and destructive in Southern Louisiana. It features drawings of local waterways, cyanotypes of personal symbols like hair and palm fronds, paper made of algae, and historical references such as Soviet-era exile measures. The work further delves into Slavic folklore with the deity Mokosh, using embroidery patterns to connect with cultural and ecological narratives and the interplay between memory, environment, and tradition. This work was shown at Good Children Gallery in New Orleans in 2024.


&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3a719f563ade7b27816d554e0745a9d545e60b504c7b16eedf22fb4c7fd4e3e3/gowhere_17.jpg" data-mid="218154845" border="0"  src="https://freight.cargo.site/w/1000/i/3a719f563ade7b27816d554e0745a9d545e60b504c7b16eedf22fb4c7fd4e3e3/gowhere_17.jpg" /&#62;
&#60;img width="4000" height="6016" width_o="4000" height_o="6016" data-src="https://freight.cargo.site/t/original/i/20df1e454cf71049f594e53d6dc5d0a6e26c5c00fb54caba81b56ebf2dcd5927/gowhere_13.jpg" data-mid="218154844" border="0"  src="https://freight.cargo.site/w/1000/i/20df1e454cf71049f594e53d6dc5d0a6e26c5c00fb54caba81b56ebf2dcd5927/gowhere_13.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d9701a161cea7ffa95cd868285ba46596b87a522ec686bdbd01d356d3de0bf6a/gowhere_2.jpg" data-mid="218154841" border="0"  src="https://freight.cargo.site/w/1000/i/d9701a161cea7ffa95cd868285ba46596b87a522ec686bdbd01d356d3de0bf6a/gowhere_2.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9399e96175442f5aa2a41a148be038366aa2a9064f0c673329f5cfaa21d8703b/gowhere_1.jpg" data-mid="218154840" border="0"  src="https://freight.cargo.site/w/1000/i/9399e96175442f5aa2a41a148be038366aa2a9064f0c673329f5cfaa21d8703b/gowhere_1.jpg" /&#62;
&#60;img width="5663" height="3765" width_o="5663" height_o="3765" data-src="https://freight.cargo.site/t/original/i/69bdde71825169e2f051fdf3e6f221faf7bf8f50e55afbd657b18b1966339d5f/gowhere_21.jpg" data-mid="218154847" border="0"  src="https://freight.cargo.site/w/1000/i/69bdde71825169e2f051fdf3e6f221faf7bf8f50e55afbd657b18b1966339d5f/gowhere_21.jpg" /&#62;
&#60;img width="4000" height="6016" width_o="4000" height_o="6016" data-src="https://freight.cargo.site/t/original/i/a9c84648656dd6c6bbcda4d0e8d99b120e78440ab29b6a914884401885b47612/gowhere_11.jpg" data-mid="218154843" border="0"  src="https://freight.cargo.site/w/1000/i/a9c84648656dd6c6bbcda4d0e8d99b120e78440ab29b6a914884401885b47612/gowhere_11.jpg" /&#62;
&#60;img width="4000" height="6016" width_o="4000" height_o="6016" data-src="https://freight.cargo.site/t/original/i/28fcc86a993031022ad111500659c52531abd9f51a2c9842e8e1fece402e30c2/gowhere_7.jpg" data-mid="218154842" border="0"  src="https://freight.cargo.site/w/1000/i/28fcc86a993031022ad111500659c52531abd9f51a2c9842e8e1fece402e30c2/gowhere_7.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9f1046867b660d05355ef569d9faad913fdad0829c5e3fabf1e9e94dc1af856c/gowhere_22.jpg" data-mid="218154848" border="0"  src="https://freight.cargo.site/w/1000/i/9f1046867b660d05355ef569d9faad913fdad0829c5e3fabf1e9e94dc1af856c/gowhere_22.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4da4eb4196e428b9bc506c9b542aab1b548547628ea1649267f9c4196e8140a6/gowhere_24.jpg" data-mid="218154849" border="0"  src="https://freight.cargo.site/w/1000/i/4da4eb4196e428b9bc506c9b542aab1b548547628ea1649267f9c4196e8140a6/gowhere_24.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/22c289f963d65284c808b0c28dd375e67920a3bf3c69212d6b200d33173c2c98/gowhere_32.jpg" data-mid="218154853" border="0"  src="https://freight.cargo.site/w/1000/i/22c289f963d65284c808b0c28dd375e67920a3bf3c69212d6b200d33173c2c98/gowhere_32.jpg" /&#62;
&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b2cdb9096a76a42a6376215afbf7d24b143d3b21215ef110c85c0c8c7f611c46/gowhere_26.jpg" data-mid="218154850" border="0"  src="https://freight.cargo.site/w/1000/i/b2cdb9096a76a42a6376215afbf7d24b143d3b21215ef110c85c0c8c7f611c46/gowhere_26.jpg" /&#62;&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9e484d0051f7992bf99137f6c4e0ffdbefde61dae366e791e8a78d3b37acb4ba/gowhere_30.jpg" data-mid="218154852" border="0"  src="https://freight.cargo.site/w/1000/i/9e484d0051f7992bf99137f6c4e0ffdbefde61dae366e791e8a78d3b37acb4ba/gowhere_30.jpg" /&#62;&#60;img width="6016" height="4000" width_o="6016" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bb261c9e251379f31fb40af4835ef336b7dab9415acc1c6ade62be06a8ea1c5c/gowhere_35.jpg" data-mid="218154854" border="0"  src="https://freight.cargo.site/w/1000/i/bb261c9e251379f31fb40af4835ef336b7dab9415acc1c6ade62be06a8ea1c5c/gowhere_35.jpg" /&#62;
	Good Children Gallery
Setpember 14 - October 6, 2024&#38;nbsp;
	Installation shots from solo show, Go I know not where, at Good Children Gallery in New Orleans, Louisiana

&#60;img width="5712" height="3213" width_o="5712" height_o="3213" data-src="https://freight.cargo.site/t/original/i/d57e0c22f21a8e5271a84bdffaec7ba5676e0045313a95aaddcb3bc62395f73c/IMG_2790.png" data-mid="220346044" border="0"  src="https://freight.cargo.site/w/1000/i/d57e0c22f21a8e5271a84bdffaec7ba5676e0045313a95aaddcb3bc62395f73c/IMG_2790.png" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/bb8eb0a077da74013eb2d78320f99a6d7799c18427368efb6ffde1c3602afc6d/IMG_4082.JPG" data-mid="220346069" border="0"  src="https://freight.cargo.site/w/1000/i/bb8eb0a077da74013eb2d78320f99a6d7799c18427368efb6ffde1c3602afc6d/IMG_4082.JPG" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/561d033f2b8adef77491568710589f59118f1936d623b47bf8a4152f1d473a25/IMG_4154-2.JPG" data-mid="220346299" border="0"  src="https://freight.cargo.site/w/1000/i/561d033f2b8adef77491568710589f59118f1936d623b47bf8a4152f1d473a25/IMG_4154-2.JPG" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d03dd872d7f7826f3c14e17828c284fcc9de5c3e90a6d520c4f422ac6b930797/IMG_4063.JPG" data-mid="220346080" border="0"  src="https://freight.cargo.site/w/1000/i/d03dd872d7f7826f3c14e17828c284fcc9de5c3e90a6d520c4f422ac6b930797/IMG_4063.JPG" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0b6646dcee4eabdb69bad51a199ba5ed834fb0eb611dbf68d62a471a1f165981/IMG_4043.JPG" data-mid="220346083" border="0"  src="https://freight.cargo.site/w/1000/i/0b6646dcee4eabdb69bad51a199ba5ed834fb0eb611dbf68d62a471a1f165981/IMG_4043.JPG" /&#62;
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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d54367bc6d890ee5b5a8235fb690cb7f0e3dd6c62b2766bdb65580163ada7e0a/IMG_4073.JPG" data-mid="220346076" border="0"  src="https://freight.cargo.site/w/1000/i/d54367bc6d890ee5b5a8235fb690cb7f0e3dd6c62b2766bdb65580163ada7e0a/IMG_4073.JPG" /&#62;
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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/187e2e59aa8532e54d5f65d64cedf58b2a1356c44a75673fdef4f2c3e0f8d1ab/IMG_4047.JPG" data-mid="220346050" border="0"  src="https://freight.cargo.site/w/1000/i/187e2e59aa8532e54d5f65d64cedf58b2a1356c44a75673fdef4f2c3e0f8d1ab/IMG_4047.JPG" /&#62;


	Stolovaya
September 28, 2024
 Photography by Victoria Gudino &#38;amp; Irma Nikolayeva

	
In the frame of the exhibition, Katya Vaz and Katya Simkhovich (founder of Dom Zakuski) organized a multi-course dinner and discussion surrounding Louisiana and Eastern European cuisine, how food and tradition are influenced by geographical location and culture, and finally how to connect with a culture outside of its original context, bringing together 23 people. The dinner was accompanied by a small book that describes both the dinner and significance of the exhibition in further detail, as well as letterpressed menus, both designed and produced by Katya Vaz.


The name, Stolovaya, comes from a type of casual dining establishment commonly found in Russia and other former Soviet countries. Often compared to a cafeteria, it offers a variety of affordable, home-style dishes in a straight forward setting. Customers typically select their meals from a counter, where they can choose from options like soups, stews, and salads. Stolovayas are known for their communal atmosphere and are popular for their hearty, traditional offerings.


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	Joan Mitchell Center&#38;nbsp;
	Research and development of Go I know not where during the Joan Mitchell Center residency in 2024.


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	Individual Works
	

</description>
		
	</item>
		
		
	<item>
		<title>06</title>
				
		<link>https://katyavaz.com/06</link>

		<pubDate>Sun, 12 Dec 2021 15:57:29 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/06</guid>

		<description>&#60;img width="1341" height="1000" width_o="1341" height_o="1000" data-src="https://freight.cargo.site/t/original/i/f59d79d3e6d97bcc7d39222b9b3abb17717d1ea726197fd0ff151baa58a96e68/Vaz_K_Pyaterochka_2.jpg" data-mid="217638551" border="0"  src="https://freight.cargo.site/w/1000/i/f59d79d3e6d97bcc7d39222b9b3abb17717d1ea726197fd0ff151baa58a96e68/Vaz_K_Pyaterochka_2.jpg" /&#62;&#60;img width="1210" height="1000" width_o="1210" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0283a81c6f0e99a48a2fec3a485a289d966568be97ae436e55de3923b296c6a4/Vaz_K_Pyaterochka_d2.jpg" data-mid="217638550" border="0"  src="https://freight.cargo.site/w/1000/i/0283a81c6f0e99a48a2fec3a485a289d966568be97ae436e55de3923b296c6a4/Vaz_K_Pyaterochka_d2.jpg" /&#62;&#60;img width="1044" height="1000" width_o="1044" height_o="1000" data-src="https://freight.cargo.site/t/original/i/04b9a3089b9de52e45b22570c23bd2b983268b2f06c11b01c268ab9c43412ac5/Vaz_K_Pyaterochka_d3.jpg" data-mid="217638552" border="0"  src="https://freight.cargo.site/w/1000/i/04b9a3089b9de52e45b22570c23bd2b983268b2f06c11b01c268ab9c43412ac5/Vaz_K_Pyaterochka_d3.jpg" /&#62;pyaterochka, 2019
	
	This painting, featuring a display of sausage in a typical Russian corner store like Pyaterochka, delves into the concept of commonality and familiarity within a specific cultural context. By focusing on this everyday scene, the work explores how certain items and practices become symbols of shared experience and identity among those within the group, while remaining largely unnoticed or even unfamiliar to outsiders. Through this depiction, the painting invites viewers to consider how ordinary objects can serve as markers of cultural belonging and highlight the nuanced boundaries that define inclusivity and exclusivity in everyday life.
</description>
		
	</item>
		
		
	<item>
		<title>07</title>
				
		<link>https://katyavaz.com/07</link>

		<pubDate>Sun, 12 Dec 2021 16:24:55 +0000</pubDate>

		<dc:creator>katya vaz</dc:creator>

		<guid isPermaLink="true">https://katyavaz.com/07</guid>

		<description>&#60;img width="1495" height="1000" width_o="1495" height_o="1000" data-src="https://freight.cargo.site/t/original/i/217c45035fdcfeec87bb4033b6bb5f23c5a38bd8fc4605e111904ff12305db61/katyavaz_idontknowyouorme.jpg" data-mid="217638723" border="0"  src="https://freight.cargo.site/w/1000/i/217c45035fdcfeec87bb4033b6bb5f23c5a38bd8fc4605e111904ff12305db61/katyavaz_idontknowyouorme.jpg" /&#62;&#60;img width="788" height="1000" width_o="788" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e3facaa93b4f74d6500f7569b36bb8e55c2a15450965931e52796f0862b2e541/katyavaz_idontknowyouorme_d2.jpg" data-mid="217638726" border="0"  src="https://freight.cargo.site/w/788/i/e3facaa93b4f74d6500f7569b36bb8e55c2a15450965931e52796f0862b2e541/katyavaz_idontknowyouorme_d2.jpg" /&#62;&#60;img width="768" height="1033" width_o="768" height_o="1033" data-src="https://freight.cargo.site/t/original/i/ce8c30a377b9bc074947213ed895250f4325d52c80b31a40de2e79e9137531e1/katyavaz_idontknowyouorme_d3.jpg" data-mid="217638724" border="0"  src="https://freight.cargo.site/w/768/i/ce8c30a377b9bc074947213ed895250f4325d52c80b31a40de2e79e9137531e1/katyavaz_idontknowyouorme_d3.jpg" /&#62;&#60;img width="768" height="901" width_o="768" height_o="901" data-src="https://freight.cargo.site/t/original/i/820041af8bb79f63543987dda2940fae76f8e5f2ecf82f92d6f18fb801227fe2/katyavaz_idontknowyouorme_d4.jpg" data-mid="217638727" border="0"  src="https://freight.cargo.site/w/768/i/820041af8bb79f63543987dda2940fae76f8e5f2ecf82f92d6f18fb801227fe2/katyavaz_idontknowyouorme_d4.jpg" /&#62;&#60;img width="704" height="1000" width_o="704" height_o="1000" data-src="https://freight.cargo.site/t/original/i/06cb4afea7b0d4ea41ec0648d29fa3826aa932332adafedc386a48067f3fc0fb/katyavaz_idontknowyouorme_d1.jpg" data-mid="217638728" border="0"  src="https://freight.cargo.site/w/704/i/06cb4afea7b0d4ea41ec0648d29fa3826aa932332adafedc386a48067f3fc0fb/katyavaz_idontknowyouorme_d1.jpg" /&#62;
	i don’t know you or me, 2019
	Split graphite drawing. On the left is a cafe with plastered walls and a lace table cloth in Suzdal, Russia. On the right is a tire shop in New Orleans with stacks of tires and a chicken sitting atop one of them. The drawing explores merging dualities. The line where opposing identities meet.
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