Can you talk about your journey from being a model to becoming a visual artist?

Modeling was the initial stage of my growth, providing me with many tools that made my artistic journey unique. The skills I gained from modeling, such as posing, photography, creating interesting compositions, and storytelling, now form the foundation of my artistic processes. Many people go through different professions before finding their true calling. These experiences often turn out to be useful, shaping their individuality in unexpected ways. Early in my modeling career, I discovered Veruschka, who changed my perspective on the modeling industry. That was when I decided that a model could also be an artist. Later, I created my project “Mashpit,” where I used my body as a canvas with body art, transforming into various characters. After that, I began focusing on my personal projects, and there was no stopping me. Initially, I wanted “Mashpit” to be a photo book, but I realised that printing many books without a broad audience would make it difficult to sell them. So, I limited the project to a series of photographs and started positioning myself as an artist. I then met Cathy Schulman, the president of Women in Film, who was impressed by the quality and scope of my work. She invited me to present my project at Women in Film in Los Angeles, where I spoke about production, photography, and transformations. During this time, I was living in Los Angeles, but I decided to move to New York to study art and immerse myself in a community of artists and like-minded individuals. My determination in New York quickly paid off. Within six months, two of my works from “Mashpit” were included in a group exhibition at Allouche Gallery, and my first sale was a photograph for $5,000. Six months later, I held my first solo exhibition of this project in Moscow. Vogue Russia supported me by publishing a beautiful article about my creative journey. The exhibition’s opening generated a lot of audience feedback, but in terms of sales, we sold only one photograph to Vasily Tsereteli, the director of MMOMA (Moscow Museum of Modern Art). This was a significant success for me. After the exhibition, feeling inspired, my then-boyfriend and I flew to Italy, where we rented a house for a month to recharge. During this time, I invented my unique collage technique—paper on canvas—without using any paint. Because the house was rented, I needed to come up with a clean, fast-drying technique that could also be rolled up for transport. Through trial and error, I developed what is now my recognisable style. Thanks to this style, one of my collages was selected this year for the FAMM Museum (Female Artists of Mougins), placing my work alongside some of the greatest women artists. Achieving this dream was a milestone for me this year.

What role does the concept of identity play in your art, and how do you express it through different mediums?

Exploring my identity often happens through life events that make me rediscover myself. I process life and its depth through my art and my body, which is my main tool for experimentation across all media. In the “Mashpit” project, I used body art to embody different personalities. By trying on their experiences, talents, and identities, I sought to find myself. The process of creating each performance was long because it involved not just the external appearance but also a deep internal transformation. To fully reflect these transformations, I studied the biographies, non-verbal communication, photographs, films, and music of the characters I portrayed. This intense immersion allowed me to absorb their essence. After all, the content we consume becomes part of who we are. Through trial and error, I shaped my own experience, which has now become the foundation of my identity. In my collages, I deconstruct and reconstruct my image, breaking illusions to create a new reality. First, I imagine a pose that serves as a non-verbal language of the body, then I capture it in a photograph. Afterward, I transfer the image onto canvas, selecting colored paper with different textures and shades, tearing and cutting it to create unique compositions. I glue these elements onto the canvas, using techniques that combine painting, sculpture, and mosaics. This process adds layers and depth to the work, revealing the body’s sensuality. For me, the body holds countless meanings that I continue to discover through my art. Each piece becomes a revelation, reflecting not only physical form but also the emotional energy of movement. Projects like “Mashpit” and the video art piece “Mockingbird” explore self-identity, both working with the body. In a world saturated with information from TV, social media, and music, it’s important for me to search for my own truth through different media. In “Mockingbird,” I projected news and the image of the bird onto my body, symbolizing both the CIA’s “Operation Mockingbird” and the bird as a metaphor for control and freedom. It highlights how knowledge can enslave and liberate simultaneously. Like “Mashpit,” but created 10 years earlier, “Mockingbird” relied heavily on intuition. When you’re young, you look outward for guidance; as you age, you start looking inward.