Canvas, acrylic, acacia thorns, beads, ribbons, mixed media, 25x107x10 cm, 2024

"O brave Falcon! In battle with your enemies, you bled to death... But the time will come when the drops of your hot blood, like sparks, will flash in the darkness of life and ignite many brave hearts with a mad thirst for freedom and light! Let you die... But in the songs of the brave and strong in spirit, you will always be a living example, a proud call to freedom, to light!

Maxim Gorky, “Song of the Falcon”

I began working on the piece “Russia Will Be Free” on the day of Alexei Navalny's death—in tears and with trembling hands, while lines from “The Song of the Falcon” echoed in my head.

This work contains a lot of pain, tears, blood (literally mine), and symbolism, which is not typical of my work.
I used real acacia thorns, which are very sharp, and I pricked myself on them countless times.
These thorns, covered in blood-red embroidery in the shape of a crown, are a song about all those who died and suffered from political repression in Russia.

The red silk ribbons, reminiscent of a traditional Slavic wreath, symbolize the hope for the renewal of friendship between kindred peoples (even though this seems practically impossible at the moment).
The clouds in the blue sky symbolize spring, which will surely come, and peace.

The clouds, by the way, appeared at the last moment and were not planned initially. Thanks to Liza Monetochka for the vibe of hope in the bleak darkness. It was while listening to her album that I finished my work and decided to end it this way.

Russia will be free!

Exhibition history:
2024: “Artists Against the Kremlin”, the gallery All Rights Reversed, supported by the DeBALIE gallery and The Moscow Times, Amsterdam,

Canvas, acrylic, acacia thorns, beads, ribbons, mixed media, 40x120x7 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, pearls, organza, mixed media, d 50 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, thread, embroidery, d 50 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, d 40 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, ceramics, mixed media, d 40 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, ribbons, mixed media, 40 x 150 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, tape, 40 x 40 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Ceramics, glaze, thread, embroidery, 45 x 30 cm, 2024

Exhibition history:
2024, solo-exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Canvas, acrylic, 50 x 60 cm, September 2022

In September 2022, the President of Russia announced a mobilization.
Thousands were sent to die.
Thousands of men fled the country, unwilling to kill their brothers in a senseless war.
Thousands said goodbye to their loved ones, their families — and of course, to their women.
I was lucky. My husband managed to leave Russia.
That sad sex, with tears in our eyes, will remain in my memory forever.

Canvas, acrylic, whip, 60 x 60 cm, October 2022

"Fuck and Laugh" — a Russian profane expression built on wordplay, commonly used to convey strong emotional reactions to events.
Its meaning depends on context, but more often than not, it expresses negative emotions — shock, frustration, anger, or outrage.
The meaning of this work is tied to the events in Ukraine in October 2022.

"Traitor to the Motherland"
from the series "Chocolate Medals"

Ceramics, glazes, 6.9 × 5.8 cm, 2023

"Foreign Agent"
Ceramics, glazes, 12.5 × 5.5 cm, 2023

With a trace of defect — like the label itself.

Ceramics, glazes, ribbons, crystals, mixed media, 2024

I began working on the “The Womb Chandelier” object at the end of 2021, and my main goal was to normalize the perception of menstruation as a natural process, to remove the stigma surrounding this aspect of the female body both among women themselves and in society as a whole, viewing menstruation not only as a physiological process, but also as a cultural and social phenomenon. 

I combined “aggressive physiologicality” (my own term) and functionality, making “Chandelier-Uterus” part of the architectural space in the same way that menstruation is part of a woman's normal life.

Due to the start of the war in Ukraine, my forced emigration, and the deterioration of my mental health, I was only able to return to work in May 2023. 

During this time, I developed a new perspective on the “Chandeliers” project. The war, started by men, has led to thousands of women being deprived of their basic human rights, their lives, their health, or, like me, being forced to leave their homes and careers and start from scratch.

Living in Belgrade, I couldn't help but turn to the work of my favorite artist, Marina Abramovic, “Balkan Baroque,” which reflected on the tragic events of the armed conflict in Yugoslavia. 

I am also greatly inspired by the works of Sarah Lucas and Tracey Emin, who explore contemporary women's issues through themes of physicality, gender, power, violence, and trauma, creating works that become a kind of manifesto for women's emancipation.

Recently, I have focused on creating new the “The Uteruses” project, which addresses women's health issues, the glaring lack of research on the female body and women's diseases, and the critically low level of development of vital medicines for women, in contrast to the enormous amount of research on even the smallest “male” problems.

Exhibition history:
2024 — solo exhibition “Notes on This”, Montenegro European Art Community, Budva, Montenegro

Ceramics, glazes, 37 × 24 × 13 cm, 2022

This work is a reflection on the body as a vessel of a powerful natural force — Life, in the broadest sense of the word.
It is through the body that we are guided into life.
And yet, despite the fragility of each individual being, life on Earth has been fiercely and successfully asserting itself for 3.7 billion years.
Pushing through borders, barriers, and constructs — Life always finds a way.

Canvas, acrylic, varnish, 140 × 100 cm, 2021

The body is a vessel of the soul.
And the body itself is made of vessels — arteries and veins pulsing in the eternal rhythm of life.
As long as blood flows, we exist.
But the vascular system is not unique to humans or animals. The same branching logic appears in the roots of plants, in fungal networks, in the veins of leaves.
A universal pattern — replicated across all living matter.
One principle.
Endlessly repeated.
The elegant infrastructure of life itself.

Canvas, acrylic, varnish, 60 × 50 cm, 2020

This work is a sublimation of the artist’s personal experience in asserting bodily autonomy and resisting gender-based discrimination.
The body is the only thing that truly belongs to us. We are born into it, and we leave in it. It is our first and last home — complete in itself.
And yet, can we truly claim the right to use our bodies as we choose? Our freedom is constrained by social norms, criminal codes, the opinions of partners or family, and even the content policies of social media platforms.
The painting imitates a photographic self-portrait originally posted on a well-known social network — a protest against censorship and external control.
“I paint what I want” becomes both a declaration and an act: here, painting is not only a simulation of photography, but a tool for bypassing imposed norms and prohibitions.

Canvas, acrylic, varnish, 140 × 80 cm, 2020
This work both celebrates the divinity of the feminine and reflects on its grounded, earthly multifunctionality.
The figure of the Woman blends visual references from various spiritual traditions: the tilt of the head and the halo evoke Christian iconography (specifically the Madonna and Child), while the multiple arms echo representations of deities in Buddhism and Hinduism.
The hand gestures — or mudras (Sanskrit: मुद्रा, mudrā — “seal,” “gesture,” “sign”) — hold symbolic and ritual meanings.
One of the Madonna’s raised hands displays Kapitaka Mudra, the gesture of joy.
Another right hand is tense, gripping a symbolic rope — the weight of tasks and responsibilities that a woman must carry throughout her life.
Here, the Woman is portrayed as a forgotten goddess — divine, many-armed, universal, yet abandoned by her worshippers.
Divinity stands in stark contrast to functionality.
To bring joy and love, to give life, to solve problems, to work — to be a living multifunctional device — this is the lived reality of the modern woman.

Canvas, acrylic, varnish, 120 × 60 cm, 2020

This work was inspired by reflections on dance as a uniquely human phenomenon
— unlike mating dances of birds or animals, which are purely instinctual.
Why do we dance?
What do we feel when we dance?
To explore these questions, I immersed myself in a shamanic–meditative dance practice and recorded the process on video.
From video stills, I composed a visual structure — but the image resisted the canvas. The painting refused to yield.
So I let go of control completely and continued painting in the same state of meditative motion.
This is how "Dancing with Shiva" was born — my willful and mystical self-portrait.
By stepping away from a rational, conceptualist approach to art-making and fully surrendering to the intelligence of body, spirit, and space, I allowed the Universe to create through me.

Canvas, acrylic, varnish, 60 × 50 cm, 2020

Canvas, acrylic, varnish, 60 × 50 cm, 2021

Canvas, acrylic, varnish, 60 × 50 cm, 2021
This work speaks of the body — in the narrow sense — and of the right to be Human, the right to live — in the broadest one.
I created it out of despair and helplessness while reading the news about the Taliban’s return to power in Afghanistan.

My entire being rebels against the rule of terror and religious patriarchy.
“The Wailing Wall” is dedicated to the women affected by the Taliban in Afghanistan — women who have been stripped of their freedom, lives, health, careers and achievements; of their right to study, to work, to live their daily lives, to meet with friends, walk, travel, dress freely, and have authority over their own bodies — their right to be free Human Beings.
I am convinced that this barbarity must be eradicated at its root.
I hope that future generations will read about the oppression of women (and of any marginalized group) the way we now read about medieval torture and witch hunts — with horror and disbelief.
But for that to happen, the fight must begin now — first and foremost in human consciousness.
And that fight must not be waged with weapons, but with awareness and compassion.
And at the heart of compassion — is love.

Canvas, acrylic, 50 × 80 cm, 2022

One day I noticed a linguistic glitch — we say “I don’t know what I want,” even though “to want” is a feeling, and “to know” is a product of rational thought.
It’s complete absurdity — trying to understand with the mind what the soul desires.
I believe it’s much healthier (mentally speaking) to say “I don’t feel what I want” — this phrasing turns us inward and helps us better understand our true needs.

Exhibition history:
‘Prayers. Anecdotes. Toasts’, curator Kate Finkelstein, Ramat-Gan, Israel,

Canvas, acrylic, markers, 40 x 60 cm, 2022.

Canvas, acrylic, pearls, beads, malachite, thread, mixed media. 40 x 60 cm, 2023.

Canvas, acrylic, varnish, 100 × 70 cm, 2021

The triptych "Yearning" marked the beginning of my exploration of emotional intelligence — the ability to accept, experience, and transform emotions in a conditional sense, as well as the emotions one feels in response to the act of registering them.
I’m particularly interested in so-called negative, socially disapproved emotions — pain, yearning, sadness, anger.
Being both the subject and the object of this research, I projected these negative emotions into three-dimensional space, thereby legitimizing them.
The triptych reflects a philosophical concept that resonates deeply with me — Alan Watts’ “backwards law”: “the acceptance of a negative experience is, itself, a positive experience.”

Canvas, acrylic, varnish, 100 × 70 cm, 2021

The triptych "Yearning" marked the beginning of my exploration of emotional intelligence — the ability to accept, experience, and transform emotions in a conditional sense, as well as the emotions one feels in response to the act of registering them.
I’m particularly interested in so-called negative, socially disapproved emotions — pain, yearning, sadness, anger.
Being both the subject and the object of this research, I projected these negative emotions into three-dimensional space, thereby legitimizing them.
The triptych reflects a philosophical concept that resonates deeply with me — Alan Watts’ “backwards law”: “the acceptance of a negative experience is, itself, a positive experience.”

Canvas, acrylic, varnish, 100 × 70 cm, 2021

The triptych "Yearning" marked the beginning of my exploration of emotional intelligence — the ability to accept, experience, and transform emotions in a conditional sense, as well as the emotions one feels in response to the act of registering them.
I’m particularly interested in so-called negative, socially disapproved emotions — pain, yearning, sadness, anger.
Being both the subject and the object of this research, I projected these negative emotions into three-dimensional space, thereby legitimizing them.
The triptych reflects a philosophical concept that resonates deeply with me — Alan Watts’ “backwards law”: “the acceptance of a negative experience is, itself, a positive experience.”

Canvas, acrylic, thread, mixed media, 100 × 70 cm, 2021

"12 Years" is a reflection on relationship crisis — the stage of revulsion and how partners work through it.
A difficult, yet ultimately unifying experience.
The protagonists of this abstract piece are two very specific beings — “two krakens embracing each other.”

Canvas, acrylic, cord, thread, varnish, mixed media, 100 × 70 cm, 2021

This work reflects the passage through emotional collapse — a meditation on crisis, survival, and regeneration. It explores rebirth in two registers: the intimate, internal restoration of the self, and the universal impulse of life to rise anew from ruin.
The cords and threads are intentionally left unsecured, and the canvas may be hung at any angle. This formal openness reinforces the central idea: that life seeks verticality — upward motion — regardless of how the world tilts around it.

Canvas, acrylic, potassium permanganate, varnish, 100 × 70 cm, 2021

When the world unravels, when chaos engulfs perception and inner coordinates collapse — we are left searching for an anchor within.
A still point.
A silent axis.
The voice of the true self — a lighthouse in the ocean of noise.

Canvas, acrylic, varnish, 60 × 40 cm, 2020

Canvas, acrylic, dried flowers, tape, mixed media, 40 × 60 cm, 2020

Canvas, acrylic, varnish, 60 × 50 cm, 2019

Canvas, acrylic, varnish, 70 × 50 cm, 2020
Commissioned work.