Misha Storkova

Kamarád

This work is a textile replication of the title page of Kamarád, one of the First Czechoslovak Republic's first openly queer magazines published during the Interwar Years. The white stitching on white textile is meant to provide little contrast, where the viewer must examine the piece closely in order to read it, mimicking the ways that these records have been supressed over the decades of totalitarian regimes in this region

artist statement

Misha Storkova (they/he) is an emerging artist and craftsperson studying at the University of Calgary. They are currently based on Treaty 7 land, but have a strong personal and cultural background in Eastern Europe. Misha’s primary mediums are fibre arts and printmaking, though anything employing a hands-on mixed media approach lies within his interest. Materiality is often the foundation for concept, here they utilize a historically female medium to explore themes such as queer and female history of domestic labour. Their work draws upon and references Slavic folk aesthetics. Misha plans to pursue a future career in the arts, aspiring to complete a Master’s degree of Fine Arts as they continue to expand their practice and delve into the world of art education. Within the scope of his art practice, Misha draws on a wide range of experiences to inform their work. As someone with a physical disability, the process of creating art is a direct response to the gradual and ongoing loss of their physical ability. It is important to him to explore his sensory world through the creation of art.

Thus, he works in a process-based approach, where the focus lies on the physical experience of creating rather than the final aesthetics of a piece. Textile, found objects, and other tangible materials can often be seen at the centre of their works for this reason. The scope of Misha’s art practice focuses primarily on gender, matrilineal relationships, and generational trauma – whether that be in regard to biological and/or found family. An approach informed by personal experience and art history is integral to their work, as one of the main themes they explore is the gendered division of “art” and “craft.” These works draw on folk art aesthetics, specifically those of Eastern Europe, as well as the oral histories built up throughout the history of textile work. They are inspired by the textile mediums which were passed down through the women in their family. Other themes featured in their work are lesbian and transgender history, Slavic motifs and legends, and the natural world. Misha strives to make works which question what we view as Fine Art. Highlighting the division between “art” and “craft” allows them to bring to light the rich history of the female-dominated medium of fibre art.