From Stars We Come and Thence We Return
Solo exhibition by Sasha Tishkov
Sasha Tishkov
From Stars We Come and Thence We Return
Opening: Friday, 13 March, 19:00-22;00
Duration: 13-21 March 2026
The Argo Annex presents a solo exhibition of Sasha Tishkov titled "From Stars We Come and Thence We Return". The opening of the exhibition will take place on Friday, 13 March 2026, from 19:00 - 22:00.
From Stars We Come and Thence We Return re-imagines the modern city not as a graveyard of consumerism, but as a site of perpetual rebirth. At the heart of the exhibition is Bennu—the ancient Egyptian solar deity—serving as a metaphor for the immortality of matter.
While Bennu rose from the flames of Heliopolis, the works on display rose from the failures of urban infrastructure. By adopting circular working methodologies, the artist reclaims the debris of extractivist systems—discarded timber, abandoned furniture, and urban detritus—to create sculptural works that exist in the state of in-between.
This exhibition challenges the linear extractivist-consumerist framework, proposing instead a restorative world-building where death (decomposition) is merely a prelude to a new functional poetry.
The exhibition was generously supported by Eesti Kultuurkapital (https://kulka.ee/).
The Bennu (The Phoenix)
Reclaimed furniture wood, jute, brass foil,
branches of Casuarina Equisetifolia (Coastal She-Oak)
110x110x30cm
2026
When the Night Comes
plastic crate, casted glass, pit-fired stoneware, glass, Brachychiton acerifolius (Flame Tree) seed pods
60x45x35xm
2026
Heliopolis (The City of the Sun)
Upcycled cardboard packaging, glazed stoneware, sand
250x200x20cm
2026
Hybrid Topography
Reclaimed styrofoam packaging, upcycled cardboard, pigments, reclaimed furniture wood, hand-carved and charred Ash wood, jute
50x40x15cm
2026
About the Artist
sasha tishkov is a visual artist and maker from Estonia whose work navigates the relationships between margin and centre, exploring anthropological, environmental, and more-than-human phenomena within peripheral and in-between territories. These liminal landscapes, uncanny in their stillness, appear as hybrid topographies, offering an unsettling backdrop to time and space we collectively inhabit.
Rooted in sensitive engagement with natural materials, sasha’s work meditates on the concepts of dying, decomposing and world-building—processes through which wider social, ecological, and political systems can be examined. Seeking to escape the confines of a dystopian present, sasha creates sculptural works and furniture pieces that transcend boundaries, evoke fantasy, and convey poetic elements.