Only when I, as an artist, have gathered as much knowledge as possible, only then will I have the opportunity to think outside the box, to rethink what has already been created and to find new solutions detached from a compulsive need to reinvent the wheel.

I’m a passionate artist
living in Switzerland.

2023, 43 x 60. Oil on canvas.

The hidden theme of this still-life is the attraction of everything towards the female form. All the pictorial pieces within the picture obviously impressed by the coquettish shape of the bottle and oriented towards it.

2023, 60 x 70. Oil on canvas.

This image is part of a series about destruction and growth of experiences, memories and thoughts. It does, for example, represent the therapeutic process of (re)creating islands of color and well-being amidst a bleak reality.

2024, 60x80 cm, oil on canvas

It’s just a still life. At first glance, the composition appears ordinary, but as you observe it more closely, you begin to sense that you’re being watched. I aimed to create a contrast between the absence of a human presence and its sudden appearance through the play of reflections. The knife was chosen intentionally; its sharp silhouette symbolizes a prick of awareness. The main idea of the piece is that one’s attention should always be centered on oneself. It’s important, while being captivated by external beauty, not to forget that the primary subject requiring focus and contemplation is the viewer themselves.

2023, 50 x 40. Oil on canvas with two picture planes separated by
a medieval chalk primer.

In this work I try to represent my personal incompatibility of everyday life and artistic activity. Nature as a symbol of freedom and art shines through another (color) level which is filled with everyday objects. Yet it is precisely this everyday level that can be a fulfilling purpose in life and even a form of art for other people. This image is also inspired by the theme of psychotherapy and I leave it up to you to discover why.

2023, 50 x 84. Oil on canvas.

This image is inspired by the syndrome called psychosis and is a figurative attempt to understand how a person in a state of psychosis might feel, what it might be like to be convinced that one is being watched constantly and from everywhere.

2022, 40 x 40. Cotton tread on canvas.

This embroidery represents the mental processes of psychotherapist during his/her work. This piece took a very long time to make, but inspired me to look for a painting technique where I can use brushes and colors to create an effect similar to the stitches of an embroidery.

The Mind of a
Psychotherapist

The Mind of a Psychotherapist

2024, 50x70 cm, oil on canvas

In this self-portrait, I aimed to express a profound metaphor about how I intricately weave my own life. The image combines the textured details of embroidery, carefully interwoven into a painted background, creating a sense that each stitch and brushstroke is a step on the journey to self-discovery and self-definition. My work symbolizes the desire to control and creatively shape one's destiny, emphasizing the idea that each of us, quite literally, "embroiders" our life with our own efforts and decisions.

Sewing-life

The Mind of a Psychotherapist

2022, 60 x 39. Oil on canvas.

The blue mountain literally begged for a yellow contrast and sunflowers bought from a nearby farmer gladly delivered.

The Mountain of Niesen and the Sunflowers

2022, 70 x 40. Oil on canvas.

This is the image of a birth. The birth of what, of a human, of a personality, of the truth?

I was born in Moscow in 1989. Initially, I completed three years of studies to become a primary school teacher, but at the end of my studies I realized that this vocation would not offer me the development opportunities I sought. Against all and every advice, I decided to study art.

For two years I took classes at a small school of design and composition to prepare for the entrance exam to the Russian Academy of Painting, Sculpture and Architecture of Ilya Glazunov, one of the most prestigious art schools in Moscow. In 2010 I was accepted, and in 2011 I received a scholarship from the academy for the remainder of my studies.

I graduated in 2017 with the best final thesis of my year and worked as an icon conservator in Moscow in the years that followed.

In contrast to museum conservation and restoration, the restoration of Russian icons is supposed to remain invisible. The work of art is supposed to appear as if it had been preserved intact and gently aged without suffering any damage. This requires knowledge and mastery of historical, especially medieval, painting and craft techniques, as well as the ability to induce artificial aging processes.

For an invisible restoration, it is necessary to know exactly how the primers, adhesives, paints and varnishes were made and applied at the time in history when that particular work of art was made, and how to produce and apply them using modern materials under modern conditions. Furthermore the work requires a high level of expertise in various methods of applying and working with gold leaf.

From these learning experiences, I learned to love natural materials, such as

as well as the painting- and working techniques of the old masters.

In 2020 I moved to Switzerland to marry her husband, a psychiatrist and psychotherapist, and the question arose as to what to do with my career. Clients from Moscow were willing to send me their icons to Switzerland for restoration, but I wanted to be true to my original desire to become an artist and, starting with a small sketchpad in the forest of Allschwil (BL), began my own independent career. In recent years, I have been mainly practicing techniques required for oil painting, acrylic painting and embroidery.

In 2022, to be closer to nature, my husband and me moved to the picturesque city of Thun in the canton of Bern and in 2023, I began to make my work public.

I have made it my mission to find new ways of expression (such as the creation of multiple pictorial planes) using historical techniques, to search for i]nteresting compositional solutions, and to combine different techniques and materials in her works (e.g. embroidery and painting).

I am convinced that new ideas in art can only succeed if the artist is familiar with the visual means that have been invented before her/him. Only when the artist has gathered all this knowledge, s/he begins to think outside the box, s/he gets the opportunity to rethink what has already been created and to find new solutions, detached from the inner compulsion to reinvent the wheel.

I works daily, including weekends, in my studio in Thun, Switzerland. My love of systematization and structuring allows me to work efficiently and quickly. On my study trips to Germany, France, Italy and the Netherlands, I have collected inspirations, notes and sketches for hundreds of pieces that are currently waiting impatiently to be transformed into complete artworks.

In my first year, I have already been accepted as a participant of the prestigious Cantonale Berne Jura Exhibition 2023.