Original artwork description:

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior.

ABOUT THE ARTWORK
"Immaculate Conception #1" from the "Perichoresis" series is a reflection on holiness as a deeply embodied and internally active experience. The painting rejects the notion of immaculate as absence, passivity, or detachment from the body. Instead, it affirms that the sacred is possible where a woman remains in full contact with her nature, her choice, her body, and her dignity.
Here, the immaculate conception is not understood as a biological miracle, but as a symbol of deep inner wholeness. It is an act of creation involving consciousness, will, and an internal readiness to become a source of life, meaning, and transformation—not through self-denial, but through self-acceptance.
The work explores how holiness can be revealed not in withdrawal from the world, but in full immersion within it—through gaze, through beauty, through the knowledge of one’s inner light. It is the image of a woman who does not wait for divine intervention, but already embodies it.


PERICHORESIS SERIES
“Perichoresis” (ancient Greek περιχώρησις - “interpenetration”), a theological term meaning the mutual penetration of divine parts into each other, to describe a unique union that does not imply mixing or merging, but emphasizes an indivisible unity.
Daria explores the theme of new sexuality, deliberately choosing a term from theological treatises for her series of works.
With this gesture, she protests against the dictates of religion, the church’s manipulation and pessimization of human sexual manifestations and physicality, the false meanings and concepts with which religions have burdened, and instead of building true connections and bridges for man and God, they build walls.
“Perichoresis” for her is a beautiful and complex term that describes the fusion of the divine and the material. Having grown up in the Protestant tradition within an Orthodox society, Daria notes the common separation of sexuality from divinity in all these religions, while she sees sexuality as the clearest manifestation of divinity, beauty, and sublimity.
The artist notes that Christian culture has invested the image of the female body with a narrative of pornographic tension, while at the same time presenting paradise before the Fall as a sexual paradise, the Garden of earthly pleasures. For the artist, sexual paradise is a safe environment, complete trust, acceptance, the opportunity to open up and discover the Other, the opportunity to learn to be loved and to love.
Love is an environment where merging does not dissolve in another person, but on the contrary, strengthens the individuality of each and enriches each other.
Thus, the artist reminds that the division into the sublime and the low in love is artificial, and overcoming this division can make life more beautiful. The heroes of her paintings are immersed in the enigmatic space of love, and sometimes there are ironic scenes that balance the degree of sublimity.

Materials used:

Acrylic

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