statement

I am a multimedia artist. I work with any material capable of expressing my thought and idea. Composition, color, and the line of movement are always the foundation of my practice.

I work with painting, sculpture, animation, and drawing. For specific projects, I turn to performative forms, texts, and poetry.

My artistic research focuses on contact as a way of living and understanding the world — through the body, memory, imagination, and both personal and collective narratives.

My artistic journey is inseparable from my experience of motherhood. For many years, I was giving birth, adopting, and raising children while continuing to work as an active artist. My art was created within this life.

I have lived more than forty years of intense bodily experience, passing through stages of transformation — pregnancy, childbirth, parenting, migration, adaptation, and personal growth. This experience became my artistic material.

In my work, I explore the cycle of a woman as a process of imprinting time. I see the body as a calendar of time — a measure and witness of change. Memory allows us to record this process and transform experience into shared narratives, myths, and collective human meaning.

My art is a search for contact.
Contact with the body.
Contact with memory.
Contact with others.
Contact with the world.

My artistic technique is based on working with a wide range of materials. The foundation of my practice is acrylic paint and mediums, which I see as a universal contemporary material reflecting the speed of modern processes. Acrylic dries quickly, allows mechanical interaction with the surface, and offers a rich visual and tactile vocabulary. For me, it is a true universe of possibilities.

Canvas is a carrier of history. Linen canvas has been used by artists for centuries. In my work, I feel a connection between continuity and the present — between traditional support and contemporary material language.

I work with many materials, and my ideas often emerge from studying the substance itself — its plasticity, behavior, and character on the surface. I am deeply interested in layering. I often paint one image over another, creating multiple layers that may remain invisible, yet continue to exist inside the work as carriers of thought and energy — hidden structures shaping the final form.

I am drawn to large formats that can still live within interior space. It is important for me that my works remain close to everyday life. I want them to be both conceptual and livable — present in the daily environment of people.

I value when art functions inside real life — when it gives energy, creates reflection, and helps a person orient themselves and concentrate.

I also work with raw and fragile materials. I create objects that can change, break, or disappear. I believe that awareness of fragility and finiteness gives value to matter and to life. I make sculptures from unfired chamotte clay, which remains vulnerable and can be destroyed. I also use charcoal and ink — materials that are sensitive to time and transformation.

For me, all of this is a way to create contact between body, time, and matter.

...

My core concept is embodied experience — lived bodily experience.

I do not separate body and soul. I see the body as the primary way we make contact with the world.
Emotions, thoughts, and memory are forms of embodied experience.

Through memory, people connect experiences over time and transform them into stories, images, and meaning.
This is how culture, collective experience, and collaboration emerge.

I am inspired by artistic practices where art grows from everyday life and bodily experience — such as the work of Pina Bausch and Marisa Merz.
Philosophically, I relate to the understanding of the body as the foundation of perception and knowledge.

My artistic research focuses on creativity as a fundamental human process — a process of contact, memory, and interaction.

Key themes in my work

Embodied experience
lived bodily experience as a source of knowledge and creation.

The body
as the primary instrument of perception and contact.

Contact
as a way of existence and interaction.

Movement
as a form of thinking and communication.

Body memory
traces, marks, and layers that preserve lived experience.

Cycle and time
life understood as a calendar where the body records change.

Motherhood
as an embodied experience of care, transformation, and continuity.

Materials
as carriers of contact between body and world.

Identity
as a result of lived experience and interaction with environment.

Art as embodied influence
affecting another person without direct physical touch — through perception and feeling.

My mission is to create works that enter into contact with the viewer.
To create space for contact.
To remain in contact with the place, time, and energy in which the work exists.

My motivation comes from the pleasure of living.
My deepest satisfaction comes from exploring life through research, learning, and contact.

I touch, observe, and move.
My body constantly interacts with the world and gathers experience through different forms of contact.
I am filled with this experience, and I feel the need to share it — to mix it with the experience of others.

For me, art is a way of living fully, actively, and creatively.

The result of this continuous movement is my "children" — artworks: paintings, sculptures, texts.
They are my energy transformed into matter, image, metaphor, and sensation.

My goal is to create works that are able to act.
Works that carry experience and meaning.
Works that awaken feeling, thought, reflection, and bodily response in the viewer.

I see myself as an activator.
I create conditions that allow people to activate something within themselves — something that already exists but has not yet been expressed.

I do not instruct.
I do not preach.
I create and present.

Each person meets my work in their own way.
This contact generates energy and creates momentum for life and movement.

And this is what truly matters to me.