Concept & Design Thinking

The catalogue was designed to reflect the duality of Kanevsky's work — his ability to transform cold, rigid porcelain into lifelike, fragile botanical sculptures. The design concept plays with contrasts: raw versus refined, organic versus artificial, and modest versus luxurious.

The dust jacket, made from uncoated kraft paper, introduces an element of imperfection — echoing the raw beauty of nature and the idea of an exhibition catalogue as a working artefact. It also serves as an allusion to the simple paper in which fresh bouquets are traditionally wrapped, reinforcing the connection between Kanevsky's porcelain flowers and their natural counterparts. The torn-style stamp reinforces the handmade quality, subtly referencing traditional botanical studies and their archival nature.

In contrast, the glossy cover beneath reveals a high-contrast photograph of a white porcelain poppy, dramatically mirrored against a black reflective surface. This juxtaposition highlights both the hyper-realism of Kanevsky's sculptures and the tension between the ephemeral and the eternal.

Inside, the layout follows a museum-like curation, with clean white spaces framing each sculpture to emphasise detail and craftsmanship. Close-up photographs reveal porcelain textures reminiscent of organic matter, while selected pages feature dark backgrounds to enhance the theatricality of the compositions.

The layout encourages the viewer to linger on the details, drawing parallels between the imperfections of nature and the precision of porcelain craftsmanship. This conceptual framework not only celebrates Kanevsky's work, but also invites reflection on the relationship between the organic and the artificial, making the catalogue itself a work of art that complements the exhibition.

You can find out more about the artist by visiting his official website: Vladimir Kanevsky Official Website

Photographer: Andrey Terebenin / terebenin@hotmail.com