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THE SERIES
My Borders
This series of artworks 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.
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.
This series will be updated with new works. I still have unspoken thoughts about it.
Breath
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
Digital artwork "Woman, Who Are You?"
This artwork is about a woman—her destiny, her choices.
Once, Malevich’s Black Square was a revolution that changed painting forever. Here, a Red Square emerges, composed of women whose names need no introduction—women who reshaped the world. (Frida Kahlo, Anna Akhmatova, Coco Chanel, Queen Elizabeth II, Golda Meir, Valentina Tereshkova, Serena Williams, Maria Skłodowska-Curie, Margaret Thatcher, Margaret Hamilton, Sofia Ionescu, Malala Yousafzai.)
At first glance, the square seems complete. But in its center, something disrupts its integrity—a missing link, a broken pixel on the screen of history. It flickers with uncertainty, with absence. Here stands the portrait of a modern young woman. Her face is veiled by an expensive platinum mask—an emblem of today’s beauty standards. She has almost merged with it, yet traces of individuality still remain. The mask is both her shield and her altar, concealing her identity while demanding devotion.
Because beauty has become a new religion—one that molds its followers into uniform clones, each more like a clown than the last. The spectacle resembles a grand circus: instead of fighting for real achievements, women wage a futile war against time. They armor themselves with the latest advancements in plastic surgery and cosmetology, transforming into assembly-line soldiers of beauty—constructed from artificial nails, hair extensions, eyelashes, breast implants, and sculpted features. No effort is spared in this endless battle.
The girl in the center turns to the women before her and asks:
Who are you? Will you leave a mark on history, or will you be just another flawless image on Instagram? Will you complete this red square with your presence, becoming someone truly significant to yourself and the world? Or will you surrender to the beauty industry’s doctrine, allowing the platinum mask to gradually erase you?
Once, Malevich’s Black Square was a revolution that changed painting forever. Here, a Red Square emerges, composed of women whose names need no introduction—women who reshaped the world. (Frida Kahlo, Anna Akhmatova, Coco Chanel, Queen Elizabeth II, Golda Meir, Valentina Tereshkova, Serena Williams, Maria Skłodowska-Curie, Margaret Thatcher, Margaret Hamilton, Sofia Ionescu, Malala Yousafzai.)
At first glance, the square seems complete. But in its center, something disrupts its integrity—a missing link, a broken pixel on the screen of history. It flickers with uncertainty, with absence. Here stands the portrait of a modern young woman. Her face is veiled by an expensive platinum mask—an emblem of today’s beauty standards. She has almost merged with it, yet traces of individuality still remain. The mask is both her shield and her altar, concealing her identity while demanding devotion.
Because beauty has become a new religion—one that molds its followers into uniform clones, each more like a clown than the last. The spectacle resembles a grand circus: instead of fighting for real achievements, women wage a futile war against time. They armor themselves with the latest advancements in plastic surgery and cosmetology, transforming into assembly-line soldiers of beauty—constructed from artificial nails, hair extensions, eyelashes, breast implants, and sculpted features. No effort is spared in this endless battle.
The girl in the center turns to the women before her and asks:
Who are you? Will you leave a mark on history, or will you be just another flawless image on Instagram? Will you complete this red square with your presence, becoming someone truly significant to yourself and the world? Or will you surrender to the beauty industry’s doctrine, allowing the platinum mask to gradually erase you?
About Artworks
Artwork "Breath"
This painting is about a woman suffocating under endless expectations. She must juggle work, household chores, and raising children—while also meeting society’s demands for youth, beauty, and perfection.
No one can embody all these roles at once, yet she tries, pushing herself beyond her limits. The harder she strives, the tighter the invisible noose becomes. It’s not just exhaustion—it’s guilt, the feeling of never being enough.
This weight steals her breath, her joy, her sense of self. But where is the limit? When will she finally inhale without fear of failing again?
This painting is about a woman suffocating under endless expectations. She must juggle work, household chores, and raising children—while also meeting society’s demands for youth, beauty, and perfection.
No one can embody all these roles at once, yet she tries, pushing herself beyond her limits. The harder she strives, the tighter the invisible noose becomes. It’s not just exhaustion—it’s guilt, the feeling of never being enough.
This weight steals her breath, her joy, her sense of self. But where is the limit? When will she finally inhale without fear of failing again?
Artwork "Personal Borders"
This artwork explores the intersection of personal and social boundaries. At its center is a human hand—an individual map created with a unique handprint and fingerprints. In palmistry, the lines on a palm are said to reveal one's destiny, yet here, the hand’s edges blur, reflecting the struggle to define personal limits. These boundaries are marked by a dotted line—tentative, uncertain, and ever-shifting.
The background, composed of geometric squares, resembles a fragmented world map viewed from above. This symbolizes the broader societal landscape, where boundaries—moral, physical, gendered, territorial—are constantly questioned and redefined. In today’s world, the idea of reclaiming lands is a recurring theme, yet history reveals that borders have always been in flux, changing hands across centuries.
The painting speaks to the challenge of setting boundaries in an ever-changing world. Rules and limitations can bring order, but they can also lead to stagnation or even dangerous ideologies. How does one find balance? That remains a deeply personal question—one each individual must answer for themselves.
This artwork explores the intersection of personal and social boundaries. At its center is a human hand—an individual map created with a unique handprint and fingerprints. In palmistry, the lines on a palm are said to reveal one's destiny, yet here, the hand’s edges blur, reflecting the struggle to define personal limits. These boundaries are marked by a dotted line—tentative, uncertain, and ever-shifting.
The background, composed of geometric squares, resembles a fragmented world map viewed from above. This symbolizes the broader societal landscape, where boundaries—moral, physical, gendered, territorial—are constantly questioned and redefined. In today’s world, the idea of reclaiming lands is a recurring theme, yet history reveals that borders have always been in flux, changing hands across centuries.
The painting speaks to the challenge of setting boundaries in an ever-changing world. Rules and limitations can bring order, but they can also lead to stagnation or even dangerous ideologies. How does one find balance? That remains a deeply personal question—one each individual must answer for themselves.
Artwork "Puppet Doll"
This painting explores the silent struggle of a woman caught between expectation and choice. She is a puppet, suspended by scarlet threads, yet the puppeteer remains unseen. Is she controlled by others, by society, or by her own fears?
The skeletal frame of her skirt recalls a time when a woman's destiny was confined to family and children. Though the world has changed, the cage remains—different in shape, but just as binding. She could resist, break free, cut the strings. But instead, she hangs motionless, her arms outstretched in a crucified pose, her eyes downcast in quiet surrender.
She is not bound by force but by the weight of expectation, by the role imposed upon her—a beautiful doll, admired yet powerless.
This painting explores the silent struggle of a woman caught between expectation and choice. She is a puppet, suspended by scarlet threads, yet the puppeteer remains unseen. Is she controlled by others, by society, or by her own fears?
The skeletal frame of her skirt recalls a time when a woman's destiny was confined to family and children. Though the world has changed, the cage remains—different in shape, but just as binding. She could resist, break free, cut the strings. But instead, she hangs motionless, her arms outstretched in a crucified pose, her eyes downcast in quiet surrender.
She is not bound by force but by the weight of expectation, by the role imposed upon her—a beautiful doll, admired yet powerless.
