In the Studio with Dasha Loyko-Greer
Artist In Residence



Dasha Loyko-Greer (b.1995) is an interdisciplinary artist born in Minsk, Belarus and rooted in London. She works predominantly across written and performed language, painting, and multisensory installation.
Grounded in her early training in philosophy and her interest in expanded states of consciousness, Dasha considers self-exploration as a tool for understanding the nature of reality. She questions the subconscious narratives we use to frame our experience, seeking to make them visible, malleable, and unfixed. In particular, she is interested in the self- and reality-defining scripts we internalise in response to fear, guilt, shame, and trust in authority.
Her work is playful and irreverent. Frequently employing her voice and somatic practices as well as intuitive mark-making, free association, and wordplay in order to break out of her own habits of perception, Dasha describes her work as a celebration of consciousness.
Photo credits: Jon Baker


Residency project: Happiness & Shame
During the residency, Dasha will continue on her current body of work titled Happiness & Shame. This is an ongoing body of oil paintings on linen started in 2024, and Dasha will be working on more paintings and deepening the ideas and discussions surrounding them.
Happiness & Shame signals a more intuitive and gestural turn in Dasha’s practice. This body of work functions as both a conduit and companion for brave and playful inner journeying. Her interdisciplinary method, which combines writing, somatic practices, and an exploration of expanded states of consciousness, informed by her background in philosophy of physics, is concerned with hierarchies of knowledge: How do we know what we know? How do we choose what to believe?
Here, via painting, she focuses on the immediacy of gesture and the wealth of information it allows to access. She traces on the surface the bodily experiences of fear and euphoria, which are physical manifestations of largely unconscious beliefs, seeking to make them visible, malleable, and unfixed.
Observing and honouring these inner states, letting them set the rules of the game that each painting evolves into, is a devotional and energetic practice of aligning herself with her own source of direct knowing.
The work is an invitation into this space of radical self-trust.