Series

Thick, downy

"Thick, Downy" is a series about animals as figures of pre-ethical existence — beings that know no shame, no ideal, no self-assessment. They exist outside of sin not because they are "holy," but because they are not included in the human system of guilt and moral responsibility. In the Christian optic, animals remain part of creation — innocent not through virtue, but through the absence of ethical choice. In more contemporary theological thought, they may be perceived as witnesses of the world, a "creaturely choir," a presence that exists both before and after the human. These dogs become a form of vigil: they do not save and do not judge — they simply accompany. Silent observers alongside human vulnerability, anxiety, and the longing to measure up.

Untitled

This work continues my exploration of the body as a cultural field of pressure—a place where moral categories, religious myths, and the contemporary visual industry converge into a single image. I draw on the tradition of Christian allegory and vanitas, but I translate it into the language of today: sins here become not abstract symbols, but physical states embedded in the flesh. The form of the screen is crucial: it resembles a folding altar and, at the same time, a household object that divides the space. The work requires the viewer to move—it cannot be seen with a single glance. By walking around the screen, one finds oneself within a rhythm of images, experiencing a sequence of states, like a route or a cycle. The sins here are not arranged in a linear plot, but are closed in a circle: they return, repeat, and flow into one another. The characters exist somewhere between icon and comic—in an aesthetic of kitsch, bodily grotesqueness, and vivid conventionality, where temptation and punishment become part of a single visual system. The body in this work is not an object of depiction, but a medium through which desire, shame, control and power are expressed.

Sins: Nature, Technology, and the Posthumanist Body

The series explores human weaknesses as persistent cultural scripts, manifested through the body, desire, and shame. In these works, sin ceases to be a moral category and becomes a way to describe the contemporary condition—constant comparison, internal rupture, the impossibility of intimacy with oneself and others. The technological and post-internet context here serves not as an illustration of the future, but as an environment in which archetypes of desire and identity are transformed: human eros encounters hybrid, altered images, and mythological structures are reimagined through visual disruptions, excess, and the pressures of contemporary culture. The series offers a slow reading and is perceived as a closed circle: sins do not disappear, but return, passing from one form to another, becoming a recurring ritual of human experience.

Festive dinner

This painting references the classic vanitas still life genre, offering a contemporary and ironic interpretation. Inspired by traditional Dutch banquet scenes, she combines them with contemporary themes of consumption, abundance, and surreal absurdity. The compositional elements—breasts, candles, food, and fruit—symbolize wealth, which often borders on excess. The artist explores the duality of celebration—the juxtaposition of elegance and the grotesque, pleasure and waste. Her personal interpretation of the theme reflects reflections on excess and the cyclical nature of consumption, as well as the deconstruction of traditional art through the inclusion of provocative images of the human body. This still life challenges conventional aesthetic and ethical concepts, addressing questions of consumption, cultural identity, and pleasure. The work explores material and sensory abundance, revealing it through provocative elements and multilayered symbolism.

Toys Industry

The "Toys Industry" series explores the objectification, consumption, and industrialization of the human body. Inspired by the philosophy of commodity fetishism (Marx) and postmodern critiques of visual culture, it combines images of heavy industry with the manipulation of the body, creating grotesque yet ironic scenes. The works analyze how the body becomes an object of commodity consumption in the capitalist system, losing its sacredness and turning into "material" for industry. Visual references include Soviet propaganda graphics emphasizing the power of machines, and naive, popular images that add a comic tone. Enormous cranes and excavators elevate "corporeal forms," ​​while a playful aesthetic emphasizes the frivolous attitude toward objects of manipulation. Bright, "plastic" colors enhance the sense of artificiality, creating a contrast with the harsh reality. The series provokes discomfort, forcing us to consider the commercialization of the most intimate aspects of life and how the personal becomes part of the global mechanism.

Amburrakata

"Amburracata" is a work of art that reveals the profound meaning of the union of two bodies: male and female, into one. The artist sought to depict the process that results in the creation of a unique body, dubbed "Amburracata." The painting conveys the idea that this union is not only physical but also symbolic, where each part brings its valuable contribution, connecting with nature—roots, branches, leaves. The work also expresses the theme of pain in codependent relationships. The fusion of two bodies can cause discomfort, where one partner faces the difficulty of liberating themselves from this state, while the other is powerless to influence the outcome. "Amburracata" not only represents the union of bodies but also becomes a metaphor for internal evolution and the search for harmony in relationships. The painting raises questions about the nature of love and pain, emphasizing that these elements are inextricably linked. Thus, "Amburracata" becomes a mirror for reflection, evoking an internal dialogue about the nature of human relationships and the eternal striving for harmony and understanding of one's inner world.

Reflection of the Lost Garden

The triptych "Reflection of the Lost Garden" is a contemporary take on a well-known biblical story. It centers on Adam and Eve, who are forced to leave paradise in search of new opportunities and a better life. They are symbols of adaptation to unfamiliar conditions, overcoming difficulties, and the pursuit of self-improvement. By exploring their image, the project reveals aspects of modern life where people face difficult choices. The first humans, emerging from paradise, are faced with the need to adapt to various situations, including the cultural, linguistic, and social characteristics of their new home. Similarly, immigrants, leaving their home country, are forced to acclimate to a previously unfamiliar way of life and social norms, which requires flexibility, effort, and determination.

About love

The "About Love" series explores sexuality and relationships through the lens of the artist's work. Each of the nine canvas paintings reveals a unique story, embodied in multilayered symbolism. The artist confronts the taboos and shame associated with depicting genitals and physical intimacy. This series is not simply an exploration of sexual acts, but a profound look at the diverse perceptions of love. Women and men interpret it differently, and each painting becomes a mosaic that forms a unified canvas. For example, one painting depicts a woman with a man who wants to steal her, wrapped in a palm leaf. The subject is an expression of sexual dominance, perceived by some women as an act of love. Other paintings immerse oneself in erotic scenes, emphasizing the diversity and subjectivity of each individual character's perception. The artist also addresses the theme of self-love and self-acceptance. She uses images of women and men, expressing their unique traits, emphasizing that self-love is an essential aspect of healthy relationships, and its expressions are limitless. She strives to create more than just paintings—she creates a space for candid projections and self-expression. Throughout this project, the artist undergoes a transformation, rejecting shame and judgments associated with sexuality. Each painting is a step toward self-knowledge and acceptance, traversing layers of trauma and fear. The artist emphasizes that this is not just art, but also a process of her own transformation and healing. The "About Love" series is not only an art project but also art therapy, allowing the artist to express and understand her deep feelings and relationship experiences. Each painting becomes a point on the map of her personal transformation and path to self-acceptance.

Pantheon

This is a new Pantheon of idols that the modern individual can worship. We haven't strayed far from natural philosophy, but the existence of spirits has been greatly limited, and natural phenomena are now explained by the hypothesis of impersonal physical forces. This is a unique project that utilizes the fundamental theory of cultural development: magic-religion-science. I want to answer the following questions: can ancient mythological representations, which are meaningless and absurd in the context of industrial society, yet still serve a certain functional role, be integrated into a relevant, contemporary context? Is it possible to draw parallels between what ancient pagans revered and what our contemporaries worship today? What does such a deity look like? What is their gender? Can their gender change depending on who is addressing the character? Will a person identify with such a spirit? What emotions should they evoke? How can one interact with them? For them to reveal themselves to the viewer, it will be necessary to sacrifice any object at hand. Will people be willing to sacrifice something to worship the New Gods and ask them their questions?

Dreams of Immigration

This project is an exploration of the state I found myself in when I arrived in a new country. Everything around me had changed dramatically. People communicated differently, nature was different, even the air was different. And in this endless diversity, images of magical creatures from fairy tales from different countries emerged, performing the utterly unimaginable, juxtaposed in a single painting. A state of delirium, a farce, that haunts me, like the fairytale characters I reinvent. Yet these characters, both evil and kind, gentle and indifferent, like participants in a tragicomic farce, embraced everything happening around them and lived out their little lives right on paper with me.

Unity

In a future world where social and gender differences are blurred, people become equal, strong, and equally important. I want to see the universe as a single, intertwined organism, to showcase human diversity and the beauty of each individual in this dystopia.

Mom's Dresser

I chose my mother's dresser because it was a piece of furniture that was important to me, and also because many people have similar pieces. This project is about the behavior patterns that are formed in childhood and how they influence our entire lives.

The Illusion of Identity

This project is about the search for self-identity in a new, increasingly complex modern world, about unconsciousness and confusion. Through painting, I explore myself and reflect on self-definition in the society around me.

Medusa Gorgon

This is my second project, conceived as a way to process emotions during my work with a psychotherapist. I captured my fears and various experiences on canvas. This process of inner work made being alone with myself much easier.

Therapy Project

This is my first project about the inner experiences I encountered and worked through in psychotherapy from 2018 to 2021. These include existential loneliness, the violation of personal boundaries, and the realization of one's own worth. It was important to me to use my own example to show viewers that they are not alone in their problems.

Lockdown

When I found myself cut off from the world, all my thoughts began to manifest on a surface level. I began asking myself various questions: who am I, what have I achieved in life, and what am I striving for? And each time, I found the answer in my writing.