Where the beauty gets created: in Nikita Seleznev’s New York studio

NIKITA, WE’VE BEEN WANTING TO DO AN INTERVIEW SINCE THE TIME YOU WERE LIVING IN TBILISI. FINALLY, THE MOMENT HAS COME, BUT NOW YOU’VE BEEN LIVING IN NEW YORK FOR TWO YEARS. TELL US, HOW DO YOU FIND THE CITY? HOW DOES ITS RHYTHM FEEL?

I feel like I’ve settled in now—I have my own studio, an apartment, and I’m finally working in the way I’m used to. I have a passion for cinema and fashion, and over the past two years, I’ve made connections in these fields. For instance, I collaborated with Walker on a screening of his film at my studio — it was a lot of fun.

As for the city, the biggest downside is the high cost of living. There are everyday challenges that I didn’t have to think about before. I’m still amazed by the prices of construction materials. Even my colleagues, who’ve been living and working here for a long time, complain about this.

TELL US A BIT ABOUT YOUR STUDIO IN NEW YORK. HOW DID YOU FIND IT? AND I’D ALSO LIKE TO KNOW HOW A SCULPTOR’S STUDIO DIFFERS FROM, SAY, A PAINTER’S STUDIO.

For me, a studio is an essential space, but I’m not overly particular about its aesthetics. It needs to be spacious and allow me to work with “messy” materials like concrete and plaster, which create dust and leave marks. A pristine, spotless studio isn’t necessary for me; in fact, some such spaces wouldn’t accommodate the specifics of my work. Painters often need good lighting and natural daylight, but that’s not important for me. Since I need a fairly large space, ideally on the ground floor, finding a studio in New York was a real challenge.

When I started looking, I focused on Queens, because my partner and I were already living there. It’s a large borough right across the bridge from Manhattan, and you can get to Central Park in about half an hour. I explored various options, including repurposed industrial buildings. Eventually, I got lucky — I found a former bike repair shop in the courtyard of a residential building.

It turned out to be a small standalone structure, and the owners, two architects with whom I immediately connected, agreed to rent it to me as a studio. Even better, they also owned the building next door and offered me an apartment there. It was the perfect arrangement: I now have both a studio and living space in the same location, which is incredibly convenient.

WOW! THAT’S QUITE A STROKE OF LUCK FOR NEW YORK. I’VE HEARD THAT FINDING HOUSING THERE CAN TAKE MONTHS.

Yes, housing can be tricky to find, especially at first. But I liked this couple — they’re very intelligent architects — and everything worked out perfectly.

I’D LOVE TO HEAR MORE ABOUT THE ART SCENE IN NEW YORK. YOU’VE MENTIONED THE CITY’S DIVERSITY, BUT WHAT OTHER ASPECTS HAVE STOOD OUT TO YOU OVER THE PAST TWO YEARS?

For me, the main difference is this: in Russia, I felt there was a kind of centralized structure to contemporary art. Essentially, if you’re working outside Moscow, at some point you’re expected to do something there — it’s almost an unspoken rule. Over time, you inevitably meet all the key figures in the contemporary art world because it’s such a small, limited circle. If you don’t fit into the main crowd, it can leave you in a rather bleak position, as collectors and galleries are unlikely to know about you. At least, that’s how it seems to me.

In New York, the feeling is completely different. There are so many people here, and the art scene is much larger. You could be unfamiliar with three-quarters of the art community, but you’re not dependent on those people. Yet, everything still functions. Things that we experimented with in Russia, like alternative exhibition spaces and artist-run initiatives, are not only common here but also well-established and effective in helping artists grow. I don’t have extensive experience yet, but that’s how it seems to me so far.

YES, IT’S HARD TO DENY THE CONCENTRATION OF CULTURAL ACTIVITY IN RUSSIA AROUND TWO MAJOR INSTITUTIONS. AS FAR AS I KNOW, IN THE U.S., EACH STATE OFTEN HAS ITS OWN MAJOR MUSEUMS THAT INFLUENCE THE ART SCENE, ALONG WITH ITS OWN COLLECTORS AND GALLERIES. IN RUSSIA, SUCH A LEVEL OF CULTURAL DISTRIBUTION DOESN’T EXIST, WHICH SIGNIFICANTLY AFFECTS THE OPPORTUNITIES AND CHOICES AVAILABLE TO ARTISTS.

That’s absolutely true. The federalized structure of the U.S. greatly influences cultural life across different states. Each state can develop its own independent art scene, separate from New York or other major centers, which creates a diverse cultural environment. In some places, art institutions are highly active and supported by local collectors, while in others, there may be little to no artistic movement at all.

Los Angeles, for example, is undoubtedly a key cultural hub in the U.S. It has a completely different dynamic, with many artists and galleries based there. Chicago, too, is renowned for its art scene and its architecture. Exploring these other cities is something I still have ahead of me.

HOW HAS EMIGRATION INFLUENCED YOUR ART?

It’s difficult for me to objectively assess how much my artistic style has changed, but I can say that leaving Russia, which was connected to (a word banned in the Russian Federation) and the repression there, has certainly left its mark. It has changed my perspective and inevitably influenced my art. While I continue to work with the same techniques and materials, and my visual language hasn’t changed drastically, there’s now more austerity and bitterness in my work. The tone of art always reflects internal feelings and emotions, and as mine have become more complex, my art has gained a greater emotional depth.

HAVE THE NEW CITIES, FIRST TBILISI AND THEN NEW YORK, HAD ANY INFLUENCE ON YOU?

Absolutely. The rhythm of a city has an impact. Every new place is inspiring in its own way. You start to absorb the atmosphere and sense the surroundings, which inevitably influence you. I deeply value the time I spent in Georgia — it was a significant period of transformation for me.

In New York, my main impression is that there is an overwhelming abundance of everything, and this forces you to be as precise as possible in what you do. This city pushes you to adopt a stricter approach to your practice and to avoid half-measures. In Russia, I often shared sketches or ideas that were still in development, but here I don’t feel inclined to do that anymore. Partly, it’s because I’ve matured, but also because I’ve become more focused on fully realizing my ideas, ensuring that my artistic expression aligns with what’s in my mind.

New York inspires me. The museums here are incredible, and I’m fortunate that one of my works has become part of the collection at the Met, which has allowed me to build a relationship with the institution. You can spend hours in a single gallery, immersing yourself in art. I usually plan ahead, deciding which gallery I want to visit and which pieces I want to interact with. This process allows me to feel the art deeply and find a personal connection with it.

HOW DID YOUR WORK END UP IN THE COLLECTION OF THE MET?

It was a surprise for me. The work was selected by the museum from the collection of my American collectors. During my personal meeting with the museum’s staff, I received a lot of positive feedback about the piece — they were genuinely captivated by it, which is why it became part of their collection.

The work is currently in archive, and I was impressed by the meticulousness of their team. They thoroughly study and document not only the technical aspects but also the thematic content of each piece. We discussed various elements, including the creation process, all of which were carefully recorded. After this, the work was archived. Typically, it remains in storage until an opportunity arises to include it in an exhibition.

The Met has an enormous collection, with thousands of pieces in storage. But it’s gratifying to know that my work now resides in this iconic building, one of the most prestigious museums in the world.

IT’S INSPIRING TO SEE HOW COLLECTORS CAN INFLUENCE ART AND SHAPE GLOBAL COLLECTIONS.

In America, collectors play a significant role and have a profound impact on the art system. Donations and private purchases are highly valued. Many people contribute through donations, which allows them to participate in the cultural creation process, supporting and promoting what they care about. This connection between collectors and institutions is deeply embedded at an institutional level.

For example, at the Met, many large galleries are named after collectors who once acquired works by Renoir, Rembrandt, or Goya. In this way, collectors’ contributions not only support existing collections but also shape cultural legacies that will be preserved for future generations.

LET’S TALK ABOUT YOUR NEW EXHIBITION AT MYTH GALLERY IN ST. PETERSBURG. YOU HAVEN’T HAD A SOLO PROJECT IN RUSSIA SINCE 2022. WHAT IS IT ABOUT?

The exhibition is called ''Norma''. It’s about people caring for one another in a chaotic, post-apocalyptic world. The format of Norma involves a series of exhibitions in different parts of the world. The first presentation was in Montreal in early October, it’s currently running in St. Petersburg through November, and a New York show is planned.

As Ekaterina Savchenko, who wrote the text for the project, aptly commented, I have a tendency to work with micro-worlds, and ''Norma'' is one of them. The foundation of the project is an animated video created in collaboration with architect Grigory Baluev. Primarily a sculptor, I made all the characters and spaces out of concrete and clay in my New York studio. Each piece was then scanned using a 3D scanner and animated in a digital environment. This complex process was necessary to achieve a tactile realism in the work.

Each location for the exhibition is intentional. For me, dialogue with people who share my values in Russia is important. Art has always been about communication for me, and I feel it’s respectful to offer the best form of exchange I know — through exhibitions and presentations — for all of my viewers. I’m grateful to my partners in St. Petersburg for their trust and courage.

Montreal, where my collaborator and longtime friend Grigory Baluev resides, was also a significant choice. There, we were able to experiment with ideas I’d been developing for a long time, such as incorporating live sound performances and embedding speakers into parts of the concrete installation.

HOW DID YOU PREPARE THE EXHIBITION? GIVEN THE DISTANCE, IT SEEMS LIKE IT COULD HAVE BEEN QUITE CHALLENGING.

It was indeed a long and complex process. Some of the objects were created in New York, while frames and other technical elements were produced in St. Petersburg based on my designs. The video, however, tied the project together and unified its various elements.

YOUR WORK SEAMLESSLY INTEGRATES VIDEO, PHOTOGRAPHY, GRAPHICS, AND SOUND, BUT YOU’RE STILL PRIMARILY A SCULPTOR. IN YOUR OPINION, WHAT SHOULD CONTEMPORARY SCULPTURE BE? IS IT MORE THAN JUST FIGURES MADE OF BRONZE, CLAY, OR CONCRETE?

Let me share my approach, which might help answer that question. For me, craftsmanship in sculpture is crucial, and I never abandon it. Years of working with sculptural materials allow me to convey subtle emotions through the nuances of modeling. For instance, I no longer need to consciously think about how to express anxiety in a piece; if I feel something strongly, it will naturally imprint itself into the sculpture.

My primary goal is to transform the emotional atmosphere of the space I’m working with. I enjoy engaging with contextually significant locations, such as museums or former industrial spaces, as well as more neutral environments.

AS WE WRAP UP, I’D LIKE TO ASK FOR YOUR ADVICE TO OTHER ARTISTS. WHAT SHOULD THEY KEEP IN MIND WHEN MOVING TO A NEW CITY? OR, WHAT ADVICE WOULD YOU GIVE YOURSELF FROM TWO YEARS AGO WHEN YOU FIRST RELOCATED?

It’s important to understand that art is a long-term process and a particular way of living life. It requires time and patience. During periods of crisis, it can be difficult not to feel helpless, but you need to give yourself time.

I’d recommend bringing at least one element of your familiar and beloved routine into your new life. If you enjoyed having pizza with your family on Sundays, try to keep doing that. If going to the gym helped you clear your mind, start going as soon as you can. It’s these small rituals that can provide stability and help you navigate change.