My Borders
This series of writings is about our boundaries. What do we allow ourselves to do? What do we allow others to do to us? What are our personal boundaries?

In particular I want to talk here about the retrospective of women's boundaries. In our still very patriarchal world, being a woman is harder and more dangerous. Yes the status of women has gotten better, but we can't talk about equality. The statistics of women in leadership positions and women suffering from violence contradict this. We still accept the roles we are allowed to play. If a woman finds herself more muscular and her identity doesn't match the imposed norm, then that behavior is considered deviant and unacceptable.
Only the emasculated image of a beautiful woman who is also a mother, a worker and a housekeeper is not antagonized by the world. Any other options are condemned. It is too many roles for one person. Mandatory family care prevents women from building a career. And modern beauty standards force women to undergo dangerous surgeries. The bottom line is that women aren't running forward to progress, they're running in circles and at each circle they have to manage to do more and more.

This series will be updated with new works. I still have unspoken thoughts about it.
Mix media (oil on canvas, texture paste, woolen thread), 40x40 cm
Personal borders
Mix media (oil on canvas, texture paste, woolen thread), 30x30 cm
Puppet Doll
Mix media (oil on canvas, texture paste, woolen thread), 70x90 cm

Concept art for this series

About the digital artwork "Woman, Who Are You?"
This art is about a woman, her destiny, about her choices.
Malevich's black square was once a real revolution and changed painting. The red square that we see in the picture consists of women, whose names do not even need to be called, because they know everything, the women who changed this world. (Frida Kahlo, Anna Akhmatova, Coco Chanel, Queen Elizabeth II, Golda Meir, Valentina Tereshkova, Silena Williams, Maria Skłodowska-Curie, Margaret Thatcher, Margaret Hamilton, Sophia Lonescu, Malala Yusufzai)

In this square, in the center, we see a missing link in the color that breaks the integrity of the square. Like a broken pixel on a screen, it flickers with its uncertainty and emptiness. There is a portrait of a modern young beautiful girl In this square. Her face is shrouded in an expensive platinum mask of the standard of beauty. She has already practically merged with it, but so far we can still see a living individual person. The mask here acts both as an object hiding the real person and as a kind of totem.

After all, Beauty is now a new religion that turns its adepts into one-type clones, who look more and more like clowns, and the whole action resembles a circus show. Instead of fighting for achievements in this world, women are fighting a doomed war against time, putting on the armor of modern advances in plastic surgery and cosmetology, turning into some kind of universal soldiers, assembled as from a construction set of nails, hair, eyelashes, breast and other things grown up. She spares no time for this war.

The girl in the center asks the women, "Who are you? Are you a person who will leave a mark on history or just another butt on Instagram? Will you complete this red square with your part, become someone special to yourself and the world, or will you stay with the adepts of the beauty industry and the platinum mask will gradually erase your individuality?

About Artworks

Artwork "Breath"

However, most women traditionally continue to do household chores and raise children. It looks like another job change after the main job. And even that is not all! The modern world dictates how a woman should look: a beautiful young face, an athletic body is now in trend. No woman is capable of playing all these roles perfectly at once. Every woman feels the weight of understanding this. It makes her feel unhappy because she doesn't have time to be a "good" woman in everything at once. This condition prevents her from breathing with ease and enjoying life.

Artwork "Personal Borders"

In the art, we see two maps: personal and social. A person's map is presented in the form of a hand. To make the hand more individual, it is created using a handprint and fingerprints. The palm itself is the map of fate that can tell a lot, palmists say. This personal map palm is woven into the world around it. The hand itself in the picture has blurred edges because it is difficult for a person to find his/her restrictions, he/she outlines them with a certain dotted line, but cannot clearly state them.

As a social and global world around, the background acts, which consists of numerous squares, is reminiscent of a map of the area, if you look at it from the window of an airplane. The borders in the global map are also controversial. In our time, everything is questioned and rethought: the borders of morality, physical limitations, sexual and gender norms, and territories. Almost every country dreams of "reclaiming its territories." Only no one knows from what year to start this return, because many territories belonged to different countries at different times.

This painting tells about the difficulty of defining one's borders in a changing world. After all, there are many cases when something is "impossible", but sometimes it is "possible", depending on the circumstances and the persons involved. The establishment of restrictions, on the one hand, brings order, and on the other hand, leads to restrictions that, at best, end in the stagnation of society, and at worst, lead to the formation of dangerous ideologies. How to find a balance in all this? Everyone decides for himself.

Artwork "Puppet Doll"

This painting about a woman who chooses not to choose. In the painting we see a woman in the role of a puppet. Who did this to her? Was it herself or someone else? We do not see the puppeteer... This woman is not free in her choices and decisions, she simply plays the role assigned to her, she is controlled by a scarlet thread. The frame of the skirt refers us back to a time when all possibilities of fulfillment for women ended with the family and children. This skirt shows us that despite the fact that times have changed, the woman is again in a kind of cage, albeit different in form. This woman could have waved her arms and flown away from her voluntary slavery, but instead she hangs doomed in her arms in a crucified pose, drooping her eyes and resigning herself to the role of a beautiful doll imposed on her by society.