In my artistic practice I use the visual techniques of grotesque and absurd combination of details,
multi-figure compositions, tonal contrasts, restrained palette, archaic imagery, mythologized
creatures, and phantasmagorical characters. I focus on human inner transformation and how
emotions reflect in the external world, conveying the loss and distortions of the human face. My
primary subject is a female who represents my thoughts and dreams.
I prefer vertical and square formats and I mainly work with acrylics and dry pastels. As my main
working methods I use total deconstruction of reality, creating collages, introducing hyperlinks to
various subjects such as biblical parables, commedia dell’arte and literary works. The world I create
lacks aerial perspective, just like a theatrical maquette, and it hides multiple layers and
behind-the-scenes. Through this approach, I guide the viewers on a journey that investigates
paradoxes and searches for significance amidst our absurd reality.
My artworks are born out of my belief in external hostility of the world and my traumatic
experiences. I search for aesthetic value in even the most repulsive aspects of art and in everyday
life. My main focus is on examining philosophical aspects of human destiny such as trauma,
tragedy, disaster, horror, and despair.

Break, put back together
Why do I fracture the world of objects, the human body, the face into pieces? To reassemble them
into a new entity that is not determined by objective reality and our view of it, but by an emotional
impulse. It’s like a collage in design. You construct a whole out of familiar objects into which you
put a certain idea, an emotional message.
I combine forms in such a way that the eye “stumbles” upon the unknown, so that the well-trodden
paths are interrupted and thought patterns go off track. I want to shake up thinking so that it gets out
of its own ruts, to move from the rational to the emotional.
The space on my canvas is like a construction kit. You can “put the kit together” if you don’t do it on
one level, but if you fall into the multidimensional space of yourself (if, of course, there is a space
to “fall” into): if you stop thinking in rational terms.
For me, it is also important that when the viewer looks at my canvas, they feel that the canvas is
also looking back at them. Sometimes I can achieve this by the most literal means, by placing
staring eyes on the canvas. I remove perspective from the composition so that the confrontation is
direct. You look at the canvas, it looks too. Is there a reflection of his gaze? Yes. It is your gaze that,
reflected by the canvas, begins to look into itself.

Why does your ears so big // acrylic on canvas, 80x120cm

The figurative structure of my works is based on the associative experience of semantic meanings. Playing with the theme of the ugly in art, she uses the language of the grotesque. Nothing evokes a feeling of admiration or pleasant contemplation. The created images are disturbing by some kind of internal tension and reflect life seen from the inside. Crowded in my mind, they strive to break free so that unreality becomes reality. Their appearance could be explained by the difficult and contradictory times in which we live.

The sharpness and fluency of the drawings, combined with intense color contrasts, enhances their expression. In the rhythm of short or long strokes, straight or curved, in the form of a dot and simply impulsive touches on the paper, the author’s intention is seen. The figurative fabric of the work includes the subject properties of the material, whether it be paper or cardboard: their density, roughness, thickness.

The numerous of my works, perhaps, first of all, figurative compositions should be singled out. Figures of different scales or their fragments, located in different turns and not always connected with each other, form a kind of unity. It is achieved in different ways – initially controlled by chaos, when the author creates an image after “seeing” it.

The second is when the image is born spontaneously, captivating my mind. Just as the autumn wind, having lifted leaves and small debris, suddenly, subsiding, puts them into bizarre natural pictures.

The third factor can be traced in the plot connection. The unifying moment of some compositions is the architectural environment. The deformed boxes of houses reinforce the feeling of brokenness and hostility of the habitat.

Human and semi-fantastic creatures crowd into the limited space of the sheet, giving rise to a feeling of hopelessness. Energetic gestures indicate a general emotional impulse. Some images are mythologized. Characters in the form of a half-fish, half-man or half-bird personify vices, reinforce the feeling of hostility of the surrounding world.

Even in a self-portrait, the artist is merciless. Her assertion that a person carries good and evil in himself is aggressive and painful. Creatures generated by the artist’s fantasy coexist with realities, forming an alloy of diverse images and events of different times. Many characters are repeated, becoming a kind of “modules of figurative metaphors”. This is especially felt in the series of works.

Interesting sheets depicting a crowd of people. Close-up faces fill the entire space of the sheet. However, it is impossible to call them portrait characteristics in the usual sense; rather, they are signs of various psychophysical states of a person. Often the author uses an image-mask, introducing elements of a carnival action into the compositions.

The mask, as a symbol of hypocrisy, hides the true faces and hidden thoughts of their owners.

Sometimes, as in medieval mysteries, the image of death appears in a well-known iconographic version and mysterious winged creatures resembling angels.

A number of compositions gravitate toward genre solutions. The “analytical” version of the still life genre is presented by the author in the depiction of everyday objects. Their “dancing” forms are transformed, but still closer to real ones.

Art supplies familiar to the creative workshop, vases with whimsical bouquets, books, old objects soften and romanticize the conditional spatial environment.

As a graphic artist, the surface of the sheet for me represents a kind of sacred zone. Careful attitude to its surface, observance of the boundaries between the image and the viewer, the object and the image remains unchanged. But sometimes you can see an attempt to break the established rules of graphics, go beyond them and introduce into the compositions, for example, spectacular collage techniques.

Recently, I have been widely using felt-tip pens with color lining, old magazines, yellowed newspapers, and cardboard. However, the variety of techniques does not change my artistic structure and imagery.

With external hostility and coldness, the heroes of my works evoke a feeling of empathy. Declarative rigidity and pricklyness is softened by man-made. Lively original technique, even though emphatically rude, maybe even bordering on the absurd, reflects the creative impulse of me.

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