Keira Cormack, born in Russia and having moved from a young age to Scotland, develops work that comes from a place of experience on the outskirts of both her identities. She interrogates her relationship with her motherland through the iconic souvenir of the Russian doll, the ultimate symbol of ‘Mother Russia’. For some she is strong, but for Cormack she is as fragile as porcelain, cracking from the West’s view of the East, broken from the marching of the classic battle of East vs West. Yet in the fragments you stand on, the shards that you walk on, a freedom is found...

 

‘The migrant becomes free not when he denies his lost home but rather holds it in memory’, Vilém Flusser, 2003.