Biography
Lana Haga (formerly Svetlana Bogatcheva) is a multidisciplinary artist based in Vaasa, Finland. Working across sculpture, installation, relief, and text, she repurposes mostly post-consumer and postindustrial materials—such as plastic, textiles, and leather—to explore psychological and planetary transformation. Her work often draws from speculative lifeforms, geological time, and personal rupture, using contrasting surfaces—raw, reflective, synthetic—to examine how we mutate, endure, and reassemble in a world shaped by excess and collapse.
Notable institutional exhibitions include the solo presentation at the Kunsthalle Vaasa (2022), Finland, and participating in group shows at the Ostrobothnian Museum (2023) in Vaasa, Finland and at Harkko Museum, Raisio, Finland (2025); or at the Royal Academy of Arts (2015) in London, the United Kingdom. Haga has been awarded various grants courtesy of the Swedish Cultural Foundation (2025), Nygrén Foundation (2023), the Paulo Foundation (2022), the Arts Promotion Center Finland (2022), and the Swedish Cultural Foundation (2022). She has been exhibited and/or represented by various national and international art galleries, including Tsivrikos Shake Gallery in London, the United Kingdom; and Blond Contemporary Gallery in London, United Kingdom; and has participated in various international art fairs, such as the London Art Fair.
Artist Statement
My work explores the emotional, psychological, and material states of becoming. I sculpt with postindustrial and postconsumer remnants—plastic, textiles, leather, and other industrial fragments—materials that carry both the deep time of the earth and the excesses of human systems. Plastic, in particular, speaks to this paradox: once organic matter, now synthetic residue, it embodies the tension between permanence and collapse.
The forms I create resemble speculative lifeforms, psychological terrains, or transitional bodies—suspended between mutation and stillness, fragility and resilience. They emerge through contrast: softness and structure, reflection and rupture, synthetic and organic. I’m drawn to the intelligence of materials—their memory, their resistance—and what they reveal when allowed to shift and assert themselves.
In a world shaped by overproduction, fragmentation, and ecological precarity, I build spaces where complexity can be felt rather than solved. My work invites reflection on what it means to transform—internally and externally—and how we carry the residue of what we’ve been into what we are becoming
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