Ekaterina Tatarovich (Harrison is her married name) was born in the Soviet Union in the city of
Leningrad (now St. Petersburg). At the age of eight (in 1978) Ekaterina immigrated with her family
and settled in Salt Lake City, Utah. This was in the midst of the “Cold War”. It was at this time
Ekaterina started noticing tensions between people and differences between perception and
truth. Exploring and understanding these tensions became a lifelong pursuit for Ekaterina and is
often referenced in her artwork.
Ekaterina is from an artistic family, which was highly involved in the arts in Russia. However,
when her family immigrated most of these connections faded away. Ekaterina’s artistic talent
was noticed and encouraged early on by her mother and grandfather, Vladimir Tatarovich, a
prominent sculptor in Russia.
In fact, when Ekaterina was emigrating from Russia in 1978, the Russian customs agents did not allow her drawing of a horse to leave the country. They claimed it was the work of a professional artist. Ekaterina started exhibiting her artwork while in high school and in 1989 Ekaterina began studying art at the University of Utah. While at the university, Ekaterina produced a substantial body of work. And in 1991 won first prize in the University Student Art Show, which included a scholarship for the following year. This same year Ekaterina realized she wanted knowledge and experience beyond that which she was gaining from the university so she started looking for jobs in foundries.
At that time the foundries in Utah were basically run by men, which made her desire to work in a foundry more challenging, but nonetheless she landed her first foundry job in an architectural foundry working in metal chasing and patina. Then was apprenticed, with a scholarship, at the Johnson Atelier art foundry in New Jersey.
Johnson Atelier proved to be an inspiring environment for growing artistically and technically. Instructors and apprentices were artists from all around the world. There Ekaterina had the privilege of meeting and working with many outstanding contemporary sculptors., such as
George Segal, Marisol, Isaac Witkin, and Tom Otterness. There, as an artisan she worked on the sculptures of many great artist and had many opportunities to not only fully understand the technical aspect of the process, but also to see the individual artist’s esthetic and approach.
These sculpture projects were both large and small, public and private. While at Johnson Atelier Ekaterina also apprenticed with the “Blacksmith of Trenton”. In 1996 Ekaterina moved to Santa Fe to work in The Art Foundry. From there she moved to La Sal, a remote town in the La Sal Mountains of southeast Utah. Here Ekaterina and her husband, William, built a state of the art studio where she is currently working on various commissions and a new body of work. Ekaterina is a member of The Artist Blacksmith Association of North
America (ABANA) and the International Sculpture Center. Ekaterina loves to improvise, explore
and expand her potential by drawing upon the knowledge and inspiration these organizations
See more work:
Dimensions: 24"h x 30"w x 43"d
In all our importance and greatness, what becomes of us in the end?
When I made this piece I was thinking about various cultures and civilizations that came before us. Many rose to greatness and then fell into oblivion. Great monuments were built to be sure others would remember their superiority.. Sometimes, we accidentally uncover a glimpse into this past history.
When I made this head, I imagined it was a remnant from a monument of one of these past civilizations. This broken off head was my monument to self-importance.
To purchase call 435-259-2709
Media: Fired clay, steel and concrete
Dimensions: 5'3"h x 24"w x 18"d
This sculpture to me is very much about turning inward to find peace, appreciation and stillness.
To purchase call 435-259-2709