Sasha Katz
Sasha Katz is a Russian-born 3D artist based in Athens. Central to her works is the depiction of female sensuality, asserting bodies’ perfection in being imperfect. Stepping away from the curated representation of selves, she portrays figures that look like us, revealing the beauty of human interactions, delicate tenderness and physical fragility. Sasha has notably collaborated with Laura Strambi, Vogue Talents and Burberry and presented her works in the metaverse with exhibitions such as Ape Stage Capitalism and Felt zine’s Principia Discordia, as well as international shows at Art Basel Miami (US), pal project (FR), and the Francisco Carolinum Linz (AT).
Last update on 10-03-2023
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Featured Artworks
Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the concept of being alone together when online.
Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone distressed.
Fever
2021
Digital Illustration
Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the concept of being alone together when online.
Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone distressed.
Love is Louder Than Bombs
2022
Digital Illustration
Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the concept of being alone together when online.
Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone distressed.
Tetiana
2022
Digital Illustration
Sasha Katz proposes four works reflecting on the notion of physical connectedness when in fear, pain or grief. Her pieces are a-contextual. Set against neutral backgrounds, they emphasise the bond amongst her realistic avatars and express the power of support one can tell non-verbally. As such, Sasha virtually reveals intimacy, reversing the concept of being alone together when online.
Affected by the developing war in Ukraine, the artist produced ‘Love is Louder Than Bombs’ and ‘Tetiana’, where she delves into the human side of expressing support to someone we can’t see or talk to IRL. These two works appear against ‘Even 3d Girls Get the Blues’ and ‘Fever’, where gazing and touch offer means to interact with someone distressed.
Even 3d Girls Get the Blues
2022
Digital Illustration
The Foundry
Events
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Do Not Touch is a group show curated by Marie Chatel and Filippo Lorenzin. Opened in Decentraland, the exhibition features works created by Martina Menegon, Baron Lanteigne and Sasha Katz.
“The exhibition focuses on material behaviours. Skin acts as a semi-permeable and sensory feature. It appears as a boundary, a space for connection and a sensor through which we interact for better or worse. In doing so, the show ponders a dialogue between human and post-human conditions; understanding and valuing different levels of mediation might be central to bringing touch back to the foreground of our everyday life and seeing the complementarity of tactile expressions online and off. ”
(Marie Chatel, curator)






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