2025
100 x 67 cm
Archival pigment print on Rag Ultrasmooth 305 g Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame with UV-protected glass. Incorporating found objects, including wood, cotton, and plastic tubing.
2025
148 x 81 cm
Archival pigment print on viscose fabric, mounted in a hand-crafted Pink Morado wood frame.
2025
31 x 36 cm
Archival pigment print on Rag Ultrasmooth 305 g mounted in a hand-crafted Pink Morado wood frame, Hahnemühle paper.
2020
100 x 90 cm
Found objects, resin, plastic, ceramic bowl.
The work stages a dissonance between function and perception. Familiar domestic objects are displaced, destabilized, and submerged, shifting from clarity into distortion and ambiguity. Removed from their original context, they lose fixed meaning and become contingent on the viewer’s perception.
The work reflects on constructed realities and the loss of aura in the age of reproduction, echoing the ideas of Walter Benjamin, where objects, once functional and singular, are reconfigured into mutable, mediated forms.
2020
81 x 41 cm
Found plastic objects.
A familiar object is subtly disrupted: a chair, stripped to its minimal form, is interrupted by a sculptural insertion made of found materials—yogurt bottles and plastic sticks—breaking its logic of comfort and use. Function becomes obstructed, shifting the object from utility to ambiguity.
Simulation. Version 02 continues the reflection on constructed realities and the loss of aura, echoing Walter Benjamin, where everyday objects, once stable and singular, are altered into mediated forms, dependent on perception rather than purpose.
2025
100 x 67 cm
Archival pigment print on Rag Ultrasmooth 305 g Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame with UV-protected glass. Incorporating found objects, including wood, viscose fabric, metal, and plastic.
2025
31 x 36 cm
Archival pigment print on Rag Ultrasmooth 305 g
Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame.
Incorporating found objects, including metal and plastic tubes.
2025
100 x 67 cm
Archival pigment print on Rag Ultrasmooth 305 g Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame with UV-protected glass. Incorporating found objects, including wood, viscose fabric, metal, and rubber.
2025
100 x 67 cm
Archival pigment print on Rag Ultrasmooth 305 g Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame with UV-protected glass.
2025
100 x 67 cm
Archival pigment print on Rag Ultrasmooth 305 g Hahnemühle paper, mounted in a hand-crafted Pink Morado wood frame with UV-protected glass.
2026
56 x 29 cm
Archival pigment print on viscose fabric, mounted in a custom-made aluminium frame.
2021
Created in collaboration with architect Liam Denhamer
The Spirit and Matter is a project that examines the banality of the everyday object, their materiality, composition, and mnemonic properties. This project's ambition is to subvert the found and disregarded into new digital and physical constructs, creating disconcerting projections from the consumer in these new realms. Not only are these objects formally distorted into familiar yet ghoulish compositions, they’re context has also been rapidly changed to the digital and uncanny. Distorting memories of the previous use and re-injecting these objects with a lexicon of nature in which their innocence originated from.
2019
90 x 90 cm
Plastic, metal, glue, resin, clay, and pastel. The videos were created using a photogrammetry process.
The purpose or meaning of the objects in the material or physical world has become insignificant. The transferring that occurred dissolved the objects in the real world and, through rendering, reconstructed them in an immaterial or ‘ideal world’ where space and time became one.
2019
50 x 25 cm
Found plastic objects, metal, glue, resin, clay, and pastel.
2019
30 x 12 cm
Plastic, glue, resin, clay, and pastel.
2019
The work confronts nostalgia as a mental phenomenon and examines the nature of its stimuli through observation and psychological research. Analogue imperfections, paired with the quiet directness of the digital, create a subtle, surreal atmosphere. Carefully combined formats shape a narrative while avoiding overt symbolism, opening questions about the nature of nostalgia, its relation to memory, and whether its primary triggers are universal.
2018
200 x 30 cm
Analogue photo prints, plastic elements.
The work explores the analogue photography process, the transition of an image from two to three dimensions, and its visual perception. It stems from an interest in the inefficiencies of human communication, acknowledging that complete understanding is never fully achievable, and questions communication in the modern world. COMLOSS is composed of layered analogue photographs of communication wires, where intersections and connections shift depending on the viewer’s point of view.
2018
10 x 7 cm
Found objects, a cup, and a newspaper page.
dasha@dash-space.co
As a multidisciplinary artist based between the USA and Mexico, Dasha has a rich history with photography. Her passion for the art form began in her youth, when she watched her father, a Soviet scientist, develop family photos in his DIY darkroom.
Dasha’s artistic journey has taken her from Moscow, where she studied art and design and worked as a fashion editor, to New York City, where she worked as an art director in film and advertising production. Eventually, she landed in London, where she earned a degree in fine art photography from the University of the Arts.
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 she places emphasis on the fact that man is an integral part of his natural surroundings.
BA Fine Art
University of the Arts London
2021
Shows
Baby, it’s Cold Outside
Espacio Union
Mexico City
September 2025
APT Gallery
London
March 2020
Copeland Gallery
London
February 2020
Southwark Park Gallery
London
January 2019
Camberwell Space
London
May 2018