10 Questions with Valentina Khodnevich

Valentina Khodnevich is a Multidisciplinary Artist based in London, with work specializing in Video art, Photography, and Experimental media, often with a focus on choreography.

Reflecting on Valentina's childhood, she used to watch her dad, Alexander, a huge cinema enthusiast, record all the important moments and trips with a camcorder. When she was around 12 years old, her father gave her a camcorder as a gift. Since then, she has been filming her friends, family, and everything around her. After finishing school, she attended an Art and Design Foundation program at the University of the Arts London. Her intuition guided her to pursue the media pathway, leading her to take a gap year back at home to do an internship and work in video production in Moscow. Subsequently, she enrolled at MetFilm School in London to complete her BA in Practical Filmmaking. During her university years, Valentina developed her style and experimented with various media, including documentary photography; she also collaborated with artists from other media. She started using body language in her work more and more.

Over the past year, Valentina has created several video artworks and dance films that have been screened at prestigious festivals in Cannes, Berlin, and London. In 2024, Valentina received a GOLD at 1.4 Awards for her video artwork "N25", which has also been shortlisted at YDA. Her latest work, "PUMP," has been featured in the Director's Library and NOWNESS. Currently, she works as a mixed-media artist in London.

valentinakhodnevich.com | @khd_valentina

ARTIST STATEMENT

If philosophy is the study of Life, then Art is:

"Everything around us has a shape, and if we look closely, most things consist of geometric figures. Even human bodies and their movements can be broken down into geometric shapes."

I have always been fascinated by contemporary choreography, as it frequently inspires my work. This video artwork delves into the geometry of movement, with a poetic precision. In a minimalist space, dancers' fluid motions mirror hands shaping strings, revealing a striking symmetry between motion and the architectural design of H A R R I's garments. Additionally, Pedro's sculpture featuring meta; poles and variation of wheels, with its interlocking forms, ties these shapes into a unified whole, forming a triangle, further emphasizing the connection between body, art, and design.

Since hands are fundamental to the human body, their involvement has also played a role in advancing the field of geometry as a science. Therefore, when hands manipulate strings to create shapes in the film, it mirrors the essence of human anatomy.

— Valentina Khodnevich

INTERVIEW

Who are you, and how did you develop into the artist you are today?

My name is Valentina Khodnevich. I'm a multidisciplinary artist based in London, and I am originally from Russia. My journey started with a camcorder and film camera. I was fascinated by how digital media could shape reality simply by capturing it in a particular way. For a while, I have been trying different mediums, experimenting with image, sound, and performance, and constantly pushing my own boundaries of storytelling and expression.

Your passion for video started early, with your father's love for cinema playing a key role in shaping your artistic path. How did those early experiences influence your approach to storytelling and visual composition?

I think we're shaped by everything around us, our taste comes from everything we've ever seen and heard. I grew up watching all different kinds of films, and later, I got into fashion, art, and photography. Every time I came across an artist or director I connected with, it introduced me to new styles and ideas that naturally found their way into my own work.

You've studied at the University of the Arts London and MetFilm School and gained hands-on experience in video production. How did these different learning environments shape your creative voice?

I went to UAL to study art and design, and naturally, I chose the Media Communication pathway—which, looking back, probably changed my life. One defining moment was visiting The X Store exhibition at 180 The Strand in London, where I saw Kahlil Joseph's art film. After that, almost all my work shifted toward video art and photography. I wanted to create more but felt limited by my technical skills, so I decided to study at MetFilm to learn camera and production techniques. It gave me the tools to experiment with video and also helped me build a community of like-minded creatives to learn from and be inspired by. It's like learning the alphabet so you can write poetry.

Your work spans video art, photography, and experimental media, often incorporating choreography. How do you approach the intersection between movement and visual storytelling?

When I moved to London, I started going to a lot of dance and choreography performances, and they became a hugesource of inspiration for me. Over time, that influence started showing up in my work, my storytelling became more visual, relying on body language rather than words. Just like in real life, where our bodies often express more than words ever could, I want to create a world in my work where language isn't necessary.

Geometry plays a significant role in your artistic exploration, particularly about the human body and movement. Could you share more about how this idea developed and how it manifests in your latest works?

The idea for PUMP came to me while researching Michael Clark and his unique approach to dance. I've always been drawn to the little details—like finding geometry in the world around us. With PUMP, I wanted to bring that to the forefront through Pedro's installation, the costume design, choreography, and string figures, creating a space where you can clearly see how everything is connected.

SUN, Dance Art Film, 2024 © Valentina Khodnevich

Your recent video artwork explores the relationship between human anatomy and geometry. Do you see this as a broader commentary on the connection between art and science?

Interesting observation! Actually, I haven't thought about it that way before. There is definitely a connection to science, especially when it comes to geometry. Art and science often go hand in hand, as scientific discoveries open up new possibilities for artistic expression. In my work, it's less about a direct commentary on this relationship and more about how certain theories, whether geometric or anatomical, can be translated into choreography and installation. It's about taking abstract concepts and giving them a physical, experiential form.

Your work has been screened at prestigious festivals and platforms such as Cannes, Berlin, and NOWNESS. How does the experience of sharing your work with wider audiences impact your creative process?

It definitely gives a sense of reassurance, like a little nod that says, "Okay, people connect with this we can move forward," which makes it easier to dive deeper into experimenting and creating without second-guessing too much. I'm really grateful for the opportunities to share my work at festivals and platforms because, in the end, art is meant to be seen, it's what gives it meaning. Plus, seeing other artists' work and hearing about their creative journeys is superinspiring. It keeps me motivated and excited to keep exploring new ideas.

"PUMP" and "N25" have received critical acclaim. Could you walk us through the conceptual development of one of these works? What were some of the key creative and technical challenges you faced?

With PUMP, the process was more technical because the concept was already defined before the shoot. The challenge was figuring out how to visually bring that theme to life in the edit. We had a few months to prep, rehearse, and find all the necessary parts, especially Pedro's installation. Also, we had to add an extra shooting day to capture shots of hands and string figures, which helped emphasize the concept.
In contrast, N25 felt more like a painting process. A few collaborators and I spent time experimenting with body movements in the space, allowing the work to evolve organically. After filming, I spent several months editing and trying out different approaches until I finally landed on a result that felt right. It was a process of constant exploration, adjusting, and refining until everything clicked.

N25, Video Art, 2024 © Valentina Khodnevich

As a multidisciplinary artist, are there any new mediums or collaborations you're eager to explore in the near future?

Right now, I'm exploring photography. While much of my photographic work leans toward documentary, I'm eager to dive into mixed media. I'm currently learning the process of film development and experimenting with techniques that can be done while developing on photo paper. I'm also really intrigued by the potential of incorporating AI-generated elements into my video work, and I'm excited to see what kind of new possibilities might open up. I think we should be careful with AI, but sometimes, it can bring you to the next level or open new doors.

Lastly, if art is, as you say, a form of studying life, what aspect of life are you most drawn to investigating next?

Wow, that's a philosophical question—I love it! The most fascinating thing to me in this world is human behavior. I'm always observing how people act and how they interact with each other, and it never ceases to intrigue me. We're all living in real-time movies with multiple scripts and genres. In the past, my work was more focused on this, but over time, I've shifted towards more abstract approaches. Now, I feel a pull to return to that earlier exploration, maybe even experiment with a live documentary, almost like a live performance where reactions are unfolding in real-time.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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