Maldives is one of the biggest coral reef systems in the world 🪸
Many people forget — corals are living animals, not plants. Even one touch can damage them. Touristic heaven above and hell below.
#Broderie #Tapestry #donttouchanything

Maldives: man-made villas where we convince ourselves we’ve found paradise, while every detail of it was engineered by man. Like the gardens of Palace of Versailles, where nature was forced into perfect cubes and triangles to satisfy man’s obsession with control. 
#Kandinsky

Shirodhara — warm oil slowly dripping onto your forehead until your thoughts finally check out before you do.
#Shirodhara #GoldLeaf

Soon, climate change may wipe this Eden corner off the face of the Earth.
#pastoso

Epoxy resin is a type of plastic. It is shaped like algae - just like our oceans slowly are.
#epoxy

This artwork reflects the artist's summer spent at the countryside house, known as a "dacha" in Russian, where she immersed herself in classic novels such as Pride and Prejudice, The Thorn Birds, and historical accounts of empresses, favorites, and revolutions. These experiences evoke warm and vibrant memories from her childhood.
The painting authentically captures the essence of her summer retreat, showcasing the beauty of the dacha, which is depicted in the background. The depiction of the flora and fauna not only reflects the artist's personal memories but also evokes a sense of timelessness, reminiscent of how Renaissance artists such as Leonardo da Vinci, Raphael, Sandro Botticelli, and Titian used landscapes to ground their figures in a relatable world.
The serene countryside landscape surrounding the dacha mirrors the harmonious balance found in Renaissance art, where natural settings complement the subject's story. 
The butterflies included in the composition symbolize the fleeting nature of consciousness and the hidden mysteries that lie beneath the surface, inviting viewers to contemplate the delicate interplay between memory and the passage of time.

In this piece, the artist channels the spirit of Renaissance masters while innovatively merging it with personal experience. It transcends a mere reinterpretation of the classic theme of Venus, offering a fresh perspective on femininity. The figure is depicted as languid and unborn, her ribs seamlessly aligning with the shell's indentations, suggesting a delicate process of separation from this protective shell. Venus, the goddess, is rendered in vibrant yellow hues, symbolizing both vitality and divinity.
The interpretation invites every woman to embrace her own sense of the 'divine.' When the artist is asked, "Who are you?"—a query often aimed at understanding one's profession or marital status—she responds, "I am divine." 
This statement resonates with the Renaissance belief in the potential for greatness within each individual, reinforcing the idea that femininity is not just to be depicted but celebrated. This contemplation on self-isolation and the journey of self-discovery aligns with the Renaissance's focus on the self and human experience, making the piece a poignant reflection of both personal and universal themes.
Moreover, the piece provokes contemplation on the themes of self-isolation within one’s shell, shedding light on the insecurities and fears that can accompany the journey of self-discovery. Importantly, the artwork reflects the artist's own human proportions, as she posed for this expressive depiction, further bridging the gap between the personal and the universal.

This artwork depicts the pregnant Madonna, sheltered under an umbrella designed to resemble a placenta. It explores the theme of preparation for motherhood through the lens of the Virgin Mary, often regarded as the quintessential mother of humanity. The piece reflects on the profound journey of motherhood and the myriad challenges every woman faces to bring life into the world. While the Madonna appears outwardly serene and 'iconic,' it invites contemplation of the hardships women endure during pregnancy—ranging from hormonal changes and toxemia to physical transformations and societal prejudices—before experiencing the incredible pain of childbirth.
 The hand position of the Madonna, gently cradling her belly, symbolizes nurturing and protection, emphasizing her role as a life-giver. This gesture resonates with the conventions of iconography, where the depiction of hands often carries significant meaning, representing both intimacy and emotional depth. Her body position adds a dynamic quality to the composition, reminiscent of the balanced and harmonious poses commonly found in various iconographic traditions. This perspective invites viewers to engage with her journey from multiple angles—both physically and emotionally—reflecting the focus on realism and human experience in iconography. Such positioning enhances the intimacy of the scene, inviting reflections on the vulnerability and strength inherent in motherhood. Additionally, it raises a philosophical question regarding the tension between modern science and the church: Did the Virgin Mary have a placenta?

This artwork is part of a diptych with The Beautiful Swan and conveys a deeply autobiographical narrative. The child depicted in the artwork possesses a remarkably mature perspective that transcends typical childhood innocence. This child has endured significant rejection from peers due to perceived differences, necessitating a premature self-reliance and the assumption of caregiving roles for her parents, who were unable to fulfill their responsibilities. As a result, she carried the weight of adult responsibilities while struggling with deep-seated insecurity rooted in the violence exhibited by the adults around her. Such experiences compelled this child to mature rapidly, taking on adult duties as early as the age of five.
The narrative evokes the essence of a Hans Christian Andersen fairy tale, capturing themes of struggle, resilience, and the longing for acceptance amidst adversity. It is also connected deeply with metaphysical art that often delves into themes of existential contemplation, memory, and the nature of reality, much like the experiences depicted in your painting.

This painting explores the theme of pursuing dreams while confronting the weight of obstacles that hinder flight. The imagery of one hand pulling the other signifies the support we extend to ourselves and others in this journey. The folds of the dress and the slightly loosened chain illustrate a transition from ascent to the grounding reality that follows a leap of faith. As the ballast begins to crack, it represents the struggle between relentless diligence and the challenges we face. The viewer is invited to reflect on whether this piece speaks to the impossibility of dreams or the beliref that desire can conquer all.
The mirror above the woman’s head serves as a symbol of reflection, suggesting a portal to another dimension, hinting at the deeper layers of our desires and aspirations. Meanwhile, the clouds in the background embody dreams, the future, and the limitless potential that lies ahead, reinforcing the notion that our dreams are worth pursuing despite the challenges we encounter.
This is connected with the surrealist tradition of questioning what is perceived versus what lies beneath the surface, inviting viewers to engage with their own dreams and desires in a world that often feels like a paradox. 

This artwork continues the story of The Ugly Duckling, exploring the theme of transformation. As spring arrives, the once-misunderstood creature encounters a group of beautiful white swans. Upon approaching them, he realizes that he has transformed into a magnificent swan himself. This moment of revelation signifies that what was once perceived as a flaw has blossomed into true beauty, capturing the essence of personal growth and the journey toward acceptance. This represents the process of rebirth through flowers.
Additionally, the fairy tale-like quality of the narrative—filled with struggle and resilience—parallels the surreal and often dreamlike qualities of metaphysical art, where reality is distorted, and the subconscious is explored. This connection emphasizes the longing for acceptance and the quest for meaning amidst adversity, inviting viewers to engage with their own stories through the lens of surreal and metaphysical exploration. In this way, the painting becomes not just a personal reflection but a universal commentary on the human condition, much like the artworks that challenge viewers to look beyond the obvious and confront the complexities of existence.

"No siento nada," which translates to "I don't feel anything," is a deeply autobiographical artwork in which the artist narrates the story of her breakup with her Argentinian boyfriend.

The piece is rich in detail; for instance, the small cat represents the kitten taken in by the young couple, while the red hair signifies the artist herself. In the foreground, a small pet lying on the ground evokes a cherished childhood toy, and the snowdrops scattered across the surface symbolize the month of May on the street. Each element weaves together to create a poignant reflection on love, loss, and memory.

The artwork "Trahición Argentina," which means "Betrayal Argentina," carries a deeply autobiographical significance. It portrays the artist herself, depicted with a broken heart, in front of the Cathedral of Christ the Savior, symbolizing Moscow. The Art Deco building of the Old England department store in Brussels also features prominently, representing both cities where the artist resided during this period. Through this piece, the artist explores themes of love, loss, and the complex interplay of personal and cultural landscapes.

This artwork functions as a poignant autobiographical illustration and self-portrait of the artist. It presents a quintessentially romantic depiction of the young lady, embodying the archetype of 'The Turgenev girl' from Russian literary classics, while also evoking the dreamy, sensual aesthetic of the Pre-Raphaelite movement.

This painting alludes to René Magritte's renowned work "Ceci n'est pas une pipe," while simultaneously depicting a celebrated piece by Kandinsky. It raises thought-provoking questions about the object and representation.

What could be more timeless than the classic motifs of traditional Dutch still life? A solitary red apple on a plate is a quintessential theme that transcends temporal boundaries, evoking the rich artistic heritage of the Dutch Golden Age.

"Ceci n’est pas Manet" is a thought-provoking homage of Édouard Manet's "Portrait d'Irma Brunner". The title, a nod to René Magritte's famous pipe painting "Ceci n'est pas une pipe," cleverly underscores the tension between representation and reality, raising questions about the nature of art itself.

"Youth Life Crisis" captures the tumultuous journey of self-discovery that often accompanies adolescence and young adulthood. The artwork features a young figure at the road, surrounded by a whirlwind of emotions and experiences. Punctuation marks and words represent the highs and lows of this transformative period.

"Nature Morte Green" is a contemplative still life that pays homage to the rich tradition of Dutch Old Masters, evoking the warm, golden light and tactile textures of 17th-century Dutch painting. With its lush green hues and carefully composed arrangement, this artwork invites the viewer to slow down and appreciate the simple beauty of everyday objects, elevated to the status of subjects worthy of artistic attention.

This artwork is a notable example from the artist's early period, characterized by the profound influence of winter landscapes and the stylistic sensibilities of Russian masters such as Valentin Serov and Vasily Polenov.

In this series of watercolor drawings, the artist pays tribute to the Dutch still life tradition while reinterpreting it through a contemporary cultural lens.

In this series of watercolor drawings, the artist pays tribute to the Dutch still life tradition while reinterpreting it through a contemporary cultural lens.

In this series of watercolor drawings, the artist pays tribute to the Dutch still life tradition while reinterpreting it through a contemporary cultural lens.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.

Interior artworks showcase hybrid spaces blending the material and immaterial worlds. They evoke a sense of existing between dreams and reality, navigating the gaps of perception. The elements reflect familiar objects, disassembled and reassembled, suggesting a fluid, plastic nature. Through delicate layers, the artist reveals self-reflection and subconscious processes.