This work manifests an attempt to strip reality of its imposed meanings and return to the source — the body’s own essence.
The two-layered structure of the piece highlights the duality of society’s perception of women in the age of consumption. It reveals the tension between the expectations of a modern world and her inherent, corporeal nature — her blood and milk, symbols of life and nourishment. The connection to the earth, once vital, has been deliberately severed and dismissed as dangerous sorcery.
Through this work, I confront this loss and invite a return to the body’s elemental presence, challenging the forces that seek to render it invisible.
The two-layered structure of the piece highlights the duality of society’s perception of women in the age of consumption. It reveals the tension between the expectations of a modern world and her inherent, corporeal nature — her blood and milk, symbols of life and nourishment. The connection to the earth, once vital, has been deliberately severed and dismissed as dangerous sorcery.
Through this work, I confront this loss and invite a return to the body’s elemental presence, challenging the forces that seek to render it invisible.
I will never leave you
Ceramics, ice, colourant
40*30*30
2021
A technically calculated and meticulously planned installation is at the mercy of the unpredictable wind, coming to life in both cyclical and chaotic motion.
Inspired by Gaston Bachelard’s Air and Dreams, the work explores air as both a liberating and unpredictable force, reflecting its symbolic connection to dreams and aspirations.
Paper windmills evoke childlike wonder and belief in a brighter world, yet they also symbolize the futility of battling imagined adversaries, like Don Quixote tilting at windmills. Through shifting planes, lines, and motion, the installation mirrors our attempts to navigate the ever-changing currents of time.
Inspired by Gaston Bachelard’s Air and Dreams, the work explores air as both a liberating and unpredictable force, reflecting its symbolic connection to dreams and aspirations.
Paper windmills evoke childlike wonder and belief in a brighter world, yet they also symbolize the futility of battling imagined adversaries, like Don Quixote tilting at windmills. Through shifting planes, lines, and motion, the installation mirrors our attempts to navigate the ever-changing currents of time.
East Wind
Installation
120 paper windmills
2 fans
2022
RUB 120,000
120 paper windmills
2 fans
2022
RUB 120,000
This artwork contemplates the roles we assume in life: are we the main character or the one upon whom actions are performed? Using the visual language of Russian grammar — subject, object, and predicate — it questions whether we choose our roles or if they are imposed upon us.
A solid white line represents the life line, symbolizing Subjectum (from Latin "subject") — the active, self-aware origin of mental life. To become the subject of one’s own actions is the essence of self-realization.
A dotted line signifies the object role — moments when agency is diminished, and we become recipients of others' actions.
The two underlined lines represent the predicate — the action performed by the subject or their state of being. Together, these three lines reflect the fluidity of our positions in life.
A running text represents a continuous stream of thoughts, informational noise, and the cyclical nature of perception. The work prompts reflection on personal relationships with time, agency, and the shifting dynamics of existence.
A solid white line represents the life line, symbolizing Subjectum (from Latin "subject") — the active, self-aware origin of mental life. To become the subject of one’s own actions is the essence of self-realization.
A dotted line signifies the object role — moments when agency is diminished, and we become recipients of others' actions.
The two underlined lines represent the predicate — the action performed by the subject or their state of being. Together, these three lines reflect the fluidity of our positions in life.
A running text represents a continuous stream of thoughts, informational noise, and the cyclical nature of perception. The work prompts reflection on personal relationships with time, agency, and the shifting dynamics of existence.
'Subjectum' (Subject)
Installation
Running text, 4m
2022
RUB 150,000
Running text, 4m
2022
RUB 150,000
This work explores the notion of incompleteness.
Reflecting on my personal archive of objects and memories accumulated over the years, I observe a recurring sense of urgency — a constant striving to keep pace. Life’s rhythm is dictated by the relentless pursuit of achievement and the pressure to produce results. What once seemed essential has shifted, been replaced, or dissolved.
The art piece features one of my unfinished canvases, reinterpreted as two lightboxes. By deliberately presenting the incomplete as complete, I confront both internal and external expectations of resolution. This gesture suspends the conventional impulse to finish, instead embracing the ambiguity of an unresolved state. Through this work, I question the value we assign to closure and challenge the narrative of finality in the creative process, positioning incompleteness as a deliberate subject of reflection.
Reflecting on my personal archive of objects and memories accumulated over the years, I observe a recurring sense of urgency — a constant striving to keep pace. Life’s rhythm is dictated by the relentless pursuit of achievement and the pressure to produce results. What once seemed essential has shifted, been replaced, or dissolved.
The art piece features one of my unfinished canvases, reinterpreted as two lightboxes. By deliberately presenting the incomplete as complete, I confront both internal and external expectations of resolution. This gesture suspends the conventional impulse to finish, instead embracing the ambiguity of an unresolved state. Through this work, I question the value we assign to closure and challenge the narrative of finality in the creative process, positioning incompleteness as a deliberate subject of reflection.
And in the end?
Installation
Lightbox, 2pcs, 40*60
2021
RUB 150,000
Lightbox, 2pcs, 40*60
2021
RUB 150,000
The inspiration for this work was winter as a striking manifestation of nature’s piercing slowness. It is a season of suspended movement, where time itself seems to hesitate.
An external calm unfolds, one that neither demands nor expects anything in return. There is no urgency, no insistence. Only a quiet space that invites presence — a stillness that offers room for reflection. In this vast deceleration, nothing resists. The living world submits to the slowed rhythm, adapting without struggle. Breathing continues, but softly; life endures, but at a gentler pace. Even the smallest movements become deliberate, as though each moment asks to be noticed.
It is within this delicate stillness that I feel the need to be honest with myself — to pause, observe, and simply exist alongside it. The state of nature mirrors my own, and in that reflection, I find clarity. Through attentive presence, I witness both the world’s quiet endurance and my own.
An external calm unfolds, one that neither demands nor expects anything in return. There is no urgency, no insistence. Only a quiet space that invites presence — a stillness that offers room for reflection. In this vast deceleration, nothing resists. The living world submits to the slowed rhythm, adapting without struggle. Breathing continues, but softly; life endures, but at a gentler pace. Even the smallest movements become deliberate, as though each moment asks to be noticed.
It is within this delicate stillness that I feel the need to be honest with myself — to pause, observe, and simply exist alongside it. The state of nature mirrors my own, and in that reflection, I find clarity. Through attentive presence, I witness both the world’s quiet endurance and my own.
Present Conscious/
Conscious Present
Conscious Present
Installation
Ceramic objects
15*10*10
2021
Ceramic objects
15*10*10
2021