Kedrina’s admiration for world-building is a window into her creative process, illustrating her confidence in devoting herself entirely to the projects in which she has invested. She frantically describes her recent take on a documentary on the making of the Lord of the Rings series of films. “I would take for granted the world that was created from scratch for the film. I never thought about how it was done, ”she says. “To say that thousands of artists from different horizons have worked there: about fifteen workshops have been created for the production of orcs, Rivendell buildings, hobbit legs. Real woodworkers were hired to make unique household items. Each fictional race had its own historical costumes and adornments – that kind of attention to detail really intrigues me. That is to say, create worlds, whether in painting, cinema or literature. In general, working with such passion is very inspiring. Today, I am not so much interested in realism. I am rather fascinated by the transformation, the deconstruction and the escape from reality.
It’s clear when she speaks that, even though she’s sometimes found on a limb, what really energizes her is engaging in the culture and creative production of her peers. She speaks with great pride and enthusiasm about her collaborators – working with Russian electronics group Synecdoche Montauk on Soul limit tracks, and on a potential EP with singer UZHOK, and with Flaty in a new project called KOSAYA GORA. “It’s not dance music at all,” she explains. “It’s a throwback to the total DIY aesthetic, a musical canvas at the intersection of folk, unhurried psychedelic jamming, dungeon synth and experimental electronics, all made using live instruments – tambourines, guitar, wind instruments. ” It is obvious that she does not want to fall into tidy categories. “I really don’t want to lock myself into some kind of framework: I think that turns off everything I have to offer.”