Original artwork description:

ABOUT THE ARTWORK
“Summer calendar/1” is not just a painting, but a ritual of capturing summer through color. It is the first page of an inner calendar, where each flower is not a botanical specimen, but a day consciously lived, a day worth preserving.
This work speaks of time recorded through beauty. In a reality that can be anxious and unstable, the artist creates an internal rhythm — a personal calendar of resilience. It contains no dates or numbers, but instead offers a presence of color, gently reminding: “this day happened,” “here it is — like breath,” “I lived it.”
“Summer calendar/1” is an affirmation of the choice to live fully, despite uncertainty. The painting becomes an anchor that brings one back to the bodily feeling of summer — not as a season, but as a state of being. There is no pursuit of objective reality here — instead, it is an inventory of the subjective, the deeply personal, the sensory.

Flower Madeleine
(Madeleine Series)
The “Flower Madeleine” series is a meditative reflection on memory, time, and life that continues despite everything. It is not just a visual archive but an emotionally charged exploration of how we remember, what we choose to preserve, and which images become inner anchors.
Inspired by the Proustian effect—where the taste of a madeleine cookie unlocks forgotten memories—each work in this series becomes a gateway into the “invisible rooms of the past.” Yet the artist does not strive for precise reconstruction: the memories in these paintings merge with fiction, evoking a sense of déjà vu or dreamlike states. This is an autobiographical diary, where objects from everyday life and the garden attain an almost sacred status.
A central role in the series belongs to seasonal flowers and fruits. They function as markers of time, as a way to capture the present without turning to overt political symbolism. Amid war, anxiety, and destruction, the artist makes a deliberate choice to look toward life, documenting her inner landscape through earthly, living forms.
The flowers are hyperbolized—larger, more vivid, more saturated than in reality. They become canonical images, nearly icons of resilience. Fruits—symbols of ripeness, abundance, and fragility—also speak to the inevitable cycles and enduring vitality of life.
Thus, the “Flower Madeleine” series becomes a unique dialogue between past and present, between reality and memory, between personal vulnerability and the steady choice to stay alive. It is art as resistance against oblivion, an attempt to preserve the self and one’s world—not through fear, but through beauty.

Materials used:

Acrylic

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