Carpet Diem: This Aussie-Approved Artist Is Tufting Her Way Into Art History
London, via Ukraine (and maybe your nan’s lounge room) — Who knew a shag pile could have this much emotional baggage? Enter Anna Perach, the Ukrainian-born artist making waves with her deeply uncanny — and unnervingly fuzzy — wearable sculptures made from carpet. Yes, carpet. The stuff usually reserved for rental flats and 70s motel hallways.
Her latest exhibition, A Leap of Sympathy, is currently running at London’s Richard Saltoun gallery until 24 June. Inspired by 19th-century automaton fiction, Soviet interiors, and a cheeky wink at the domestic arts, her work combines craft gone wild with themes like femininity, folklore, and the ever-creepy uncanny valley.
By the Numbers: A Tufted Tally of Perach’s Practice
| Stat | Figure / Fact |
|---|---|
| Materials Used | Tufted yarn, carpet, robotics, glass |
| Studio Base | Gasworks, London |
| Origin | Ukraine (Soviet-era childhood) |
| Exhibition Dates | 15 May – 24 June 2025 |
| Key Inspirations | ETA Hoffman’s “The Sandman”, folklore, AI unease, domestic crafts |
| Recurring Themes | Femininity, transformation, identity, “what’s under the rug” |
| Notable Collaborators | Choreographer Luigi Ambrosio, sound artist Laima Leyton, performer Maria Montaci |
| Quote of the Show | “It’s really an ancient fantasy to give something life. Which in a way is what I do.” |
Craft Gone Wild: From Soviet Rugs to Wearable Art
Perach’s carpet creations are like if your grandma’s doilies took acid and joined a feminist punk band. These sculptures are wearable, haunting, and often activated by either performers or mechanical components (yes, there’s a robot dress involved). One piece even challenges you to figure out whether it’s a human or an automaton wearing it. If that doesn’t make you question your own humanity, you’ve got nerves of steel, mate.
Her inspiration comes from stories like ETA Hoffman’s “The Sandman”, where a man falls for a singing automaton who — spoiler — glitches and reveals she’s all cogs and no soul. Perach riffs off this, creating two identical Victorian gowns — one worn by a person, the other by a machine — and lets the viewer figure out which is which. Creepy? Absolutely. Clever? Too right.
From Iron Curtain to Fibre Queen
Perach grew up in the old USSR, where carpets weren’t just flooring — they were cultural icons, insulation, and sometimes wall art. Now, she’s taking that textured nostalgia and flipping it into high-concept art. Her sculptures are over-the-top, tactile, and infused with the warm weirdness of childhood memory, Slavic folklore, and Soviet design gone technicolour.
Art Meets AI (But Not in the Way You Think)
Though the glitchy automaton themes feel very “ChatGPT-core”, Perach insists she’s not trying to make commentary on AI. Instead, she’s tapping into something older: the ageless human obsession with making lifelike things move. Think Frankenstein meets Etsy.
Why It Works (And Why It’s So Damn Aussie)
Perach’s work blends camp, cultural memory, and textile rebellion — a mix that feels right at home in Aussie creative circles. We’re talking:
- Poking fun at seriousness while tackling serious themes
- Elevating “women’s work” into gallery gold
- Making you laugh, squirm and rethink your nana’s rug all at once
See It Live (If You’re in London)
A Leap of Sympathy is on at Richard Saltoun Gallery, London
Running: 15 May – 24 June 2025
Final Thought
Anna Perach isn’t just tufting carpets — she’s tufting cultural boundaries, memory, and the very idea of what “fine art” looks like. Her work reminds us that sometimes the weirdest materials can tell the most human stories. And if you’re still wondering whether it’s OK to want to cuddle a carpet sculpture? Don’t worry — it’s not just you.
As they say in the gallery world: touch with your eyes… unless it’s Anna Perach’s work — then maybe just hug it when no one’s watching.
