My practice explores how human perception is formed and continuously reassembled between states of the inner child and adult experience.
I am not interested in memory as a fixed representation of the past, but in the inner child as an active structure of perception — a way through which the adult continues to search for answers about the self, happiness, and modes of being in the world.
I work with watercolor as a medium where representation is not central. Instead, it allows me to engage with states of transparency, fragility, and instability of the image. These qualities enable me to approach the image as a process rather than a resolved form.
Each work emerges from attentive observation of internal transitions — between vulnerability and control, clarity and fragmentation, childlike and adult modes of experiencing reality.
My practice is an attempt to reveal how a person perceives themselves and the world in the moment of becoming, rather than as a fixed identity.
Born in Volnovakha, Donetsk region, Ukraine. Childhood divided between an urban environment and the rural home of her grandparents, where she developed a sensitive, attentive perception of everyday life and human emotional states. Time spent in a Greek village brought her first encounter with manual practices, through sewing and working with materials.
Graduated from school with distinction and entered a program in finance and economics, initially considering a future in politics. After her fourth year, she moved to Kyiv to continue her studies in the master's program at Taras Shevchenko National University of Kyiv.
Life became more socially engaged: humanitarian work with orphanages through a project of her own, alongside television and media projects, and a period working as a flight attendant for Ukrainian airlines.
After the birth of her daughter, she returned to manual practices and working with form, founding her own atelier for clothing, image, and individual commissions for public and private clients.
Following the war in Ukraine and a sudden shift in her life circumstances, she moved to Dubai — a period that became a reset and restructuring of her life trajectory. Digital practices were explored and set aside; she turned instead to watercolor, a medium she had always felt drawn to but never practiced. It became her primary artistic language. Her first series, Childhood, is dedicated to rural experience and to the pigeon — a personal symbol rooted in family memory, from her grandfather's name for her grandmother, "my dove."
Began systematically developing her artistic practice, studying her own visual language through lived experience and work with imagery.
Practice developed through educational programs, collaborations, and an international context, relocating to Paris. Began studying at Petit Écurie Atelier while preparing for a solo exhibition.
Practice presented in Paris through group exhibitions, the development of the Je suis née deux fois series, studies at the École des Beaux-Arts de Paris, and preparation for a solo exhibition.
Sankara Jewelry — artistic collaboration, visual work and creative partnership.
Dovecote is a visual exploration of memory, belonging, and inherited forms of care, viewed through the lens of childhood perception. The series originates from memories of a rural landscape — a place where everyday gestures, family rituals, and the presence of nature formed an intimate language of connection. Returning to the world of the inner child, the works explore a state where reality and imagination coexist, where ordinary objects become carriers of meaning, and where landscapes preserve emotional traces of the past. The recurring image of doves becomes a central motif of continuity and return — inspired by a family expression of tenderness, the dove moves beyond its symbolic meaning and becomes a carrier of memory, affection, and generational transmission.
109 × 109 cm · watercolor on paper · 2023
Explores the relationship between inheritance and discovery. The circular structures evoke cycles of life, family memory, and repetition, while the opening movement suggests a moment of curiosity and transformation. The dove in flight represents the childlike impulse to look beyond what is known — not to leave the past behind, but to continue its story in a new direction.
65 × 105 cm · watercolor on paper · 2024
Explores care as a structure — an invisible system that connects generations, gestures, and memories. The circular composition creates a contained space where organic elements, geometric patterns, and the recurring image of doves exist in balance, suggesting that intimacy is not preserved through objects, but through the gestures and rituals carried forward over time.
89 × 64 cm · watercolor on paper · 2023
The recurring presence of white doves creates a rhythm in which individual forms gradually dissolve into a shared memory. The garden ceases to function as a landscape and instead becomes an interior space where memories exist not as events from the past, but as a continuous presence — memory as a living environment in which the personal becomes universal.
105 × 76 cm · watercolor on paper · 2023
Explores the domestic space as a landscape of memory and quiet transformation. The white fabrics, embroidered patterns, and suspended forms become more than everyday objects — they create a visual field where traces of care, time, and human presence remain. The doves inhabit this space as silent witnesses, connecting the intimate world of the home with the larger themes of continuity, belonging, and return explored throughout the Dovecote series.
35 × 35 cm · watercolor on paper · 2023
Explores the human connection with memory, care, and belonging. The figure holding the dove exists between interior and exterior spaces, framed by fabric and light — not a portrait of a specific person, but a vessel for a relationship between generations, where tenderness is preserved and passed forward.
150 × 109 cm · watercolor on paper · 2024
Explores movement as a form of emotional memory. The flying doves emerge from an abstract field of color and texture, transforming the space into a state between landscape and imagination — capturing the moment of liberation itself, the instinctive desire to move beyond the familiar while remaining connected to a place of belonging.
76 × 105 cm · watercolor on paper · 2024
Reflects on the human journey as a continuous movement between belonging and becoming. The ascending structure evokes a path shaped by experience, memory, and transformation, while the doves inhabit the space as companions of the journey — the quiet movement of a person through life, guided by memory, curiosity, and wonder.
109 × 76 cm · watercolor on paper · 2024
Explores the moment where memory, inheritance, and possibility meet. The pearl-like form becomes a symbol of potential life, suspended between the past that shaped it and the future waiting to emerge, while the nest suggests a fragile yet protective space where new forms of existence can unfold.
35 × 35 cm · watercolor on paper · 2023
Explores tenderness as a form of connection passed between generations. Two hands meet through the gesture of touching a fading rose, creating a moment where fragility becomes a source of awareness rather than loss — a capacity to recognize beauty in its most temporary and delicate forms.
76 × 105 cm · watercolor on paper · 2025
Explores life as a continuous process of transformation. The flowing forms surrounding the doves evoke movement, growth, and the invisible forces that shape our inner world — beauty not as a final state, but as an ongoing process of discovery, a constant unfolding of what we are becoming.
35 × 35 cm · watercolor on paper · 2023
Rooted in a personal memory of tenderness. The title comes from an intimate family expression — a phrase her grandfather used when addressing her grandmother, calling her "my dove." Two doves resting together in a spring apple orchard represent a quiet language of devotion, companionship, and belonging, carried through memory, nature, and inherited emotions.
The series Je suis née deux fois approaches the figure of the inner child not as a narrative or nostalgic device, but as a principle of transformation of identity. The research turns around embodied memory, the psychic traces of childhood within the construction of adult identity, and vulnerability as a condition of perception. The works sit between spontaneity and control, where gesture and color form a non-discursive language — a space of projection activated by the sensitivity of the viewer.
65 × 50 cm · watercolor on paper · 2026 · 1350£
Explores the dream as a space of passage between individual and transgenerational memory. It questions the encounter between the adult and the inner child in a state where the borders of identity become porous — sleep envisaged as a place of reactivation for unconscious traces and the threads of origin.
110 × 140 cm · watercolor on paper · 2026
Explores a process of inner transformation through reconnection with the inner child and access to a continuous flow of vital energy — a dynamic of circulation and openness where the inner child becomes an access point to a deeper emotional and perceptual resource. Source does not refer to a place, but to an active state of inner availability.
65 × 50 cm · watercolor on paper · 2026
Questions birth as a state of fundamental vulnerability, where life appears in a fragile balance between protection and exposure — a symbolic space of gestation and transmission in which fragility becomes the structure of the living, a principle of organization rather than an accident.
35 × 15 cm · watercolor on paper · 2026
Explores the inner state of the child as a space where two emotional states coexist — one immersed in a silent blue, expressing withdrawal and melancholy, the other permeated by light, opening onto play and joy. Not a conflict but a natural oscillation within a single being, with light as the passage between the two.
104 × 130 cm · watercolor on paper · 2026
The inner child releases its fears, each one tethered by a thread of memory woven through a lifetime; left behind, they no longer define the journey. Seated upon a bird, the child is ready to take flight. Drawing on hand-cut devotional paper works and the geometry of lace, trust emerges from what has been released, and lightness from a heart finally freed.
76 × 56 cm · watercolor on paper · 2026
Silence is not the absence of sound but a space where the inner world can emerge. When the external noise subsides, it becomes possible to perceive what lies beyond language — the quiet light of the heart, self-trust, and conscious presence. Within this stillness, the inner child awakens; silence becomes a place of return.
170 × 109 cm · watercolor on paper · 2026
Explores acceptance as the refusal of inner division. Two manifestations of the inner child — the embraced and the rejected — coexist within the same space of care, where no part of the self is excluded from the experience of love. Rather than portraying healing as the erasure of trauma, the work proposes wholeness as the capacity to acknowledge one's own multiplicity and allow every fragment of the self to belong.
Watercolor as a shared language — moments spent working alongside children, where the same attentiveness to the inner child is practiced in the open.
