I transform receipts into art pieces. Here, I interrupt the commodity-ex-

change relationship and shift its purpose. I tear this context apart with themes of passion and

desire.

Desire / D.....2

I decided to explore what could awaken memories and started moving from more familiar media such as videos, photographs, events, people, etc. to the less obvious — a household waste and it’s unique ability to stir memories or, if taken a step further, even simulate scenarios and «create events and effects».

  

The Day in August

I transform receipts into art pieces. Here, I interrupt the commodity-ex-change relationship and shift its purpose. I tear this context apart with themes of passion and desire.

Desire / D.....6

Desire / D.....4

I aim to highlight the invisible connection within the triangle of goods, receipts, and usage. Through my collages, I present different aspects of a product’s life, binding these elements together in a single visual narrative.

  

Leftovers #3

My mediums include receipts themselves, thermal printing paper, and photosensitive paper. I use these materials to achieve a more tangible confirmation of the real presence of things—not just images, but also unpredictable spots and drips that occur during the process. These elements bring a physical dimension to the work, emphasizing the transient and material nature of the objects and exchanges they represent.

  

Kit #7

I make an effort to capture a multitude of actions and interactions, later selecting the key moments that resonate with me, and then work with them to create digital collages.

Overdosed with Salvation

Overdosed 10

By representing waste in both my paintings and embroideries, I give this overlooked and swiftly changing substance the opportunity to be acknowledged and appreciated.

The Morning Portrait

Within all of this exists a citizen — indifferent, preoccupied with her or his own affairs, oblivious, detached.

Boys

My focus shifted to an interest in how the urban environment experiences the catastrophe.I was captured by the images of apartment buildings being destroyed. 

Summer Nights

In my series, I critique the environment in which I grew up and lived. I grapple with the feeling that I cannot change it but can only observe it: the seams in the facades of panel buildings, the creaking of swings, carpets on the snow, rhythms dictated by fences, the city’s color schemes, the scent of the first snow.

  

Cover

All residential neighborhoods and suburbs remain in the chaotic care of local communal services, which paint playgrounds in bizarre colors, decorate the entrances of buildings, and ventilation shafts. 

Heating Main 

I make an effort to capture a multitude of actions and interactions, later selecting the key moments that resonate with me, and then work with them to create digital collages. The visual language of this series is an attempt to «digitize» perception, aiming to depict, in digital terms, the sensory overload that I experience.

Overdosed 9

I explored a new approach, where images emerge like transparency/visual slogans in deserted or dense environments. 

  

Looming Coast

I was inspired by the lecture by Franco «Bifo» Berardi, entitled «Two-Faced Chaos,» in which the philosopher contemplated the complexities of the systems through which we navigate our lives. He explored the panic, inducing processes associated with this increasing complexity and acceleration. 

  

Overdosed 1

The post-COVID situation changed to martial law. With the onset of Russia’s full-scale invasion of Ukraine, manifestations of internal and external chaos intensified. I explored a new approach, where images emerge like transparency/visual slogans in deserted or dense environments. 

  

Looming War

In this series I rely on my own photographs and phone screenshots. Many of the programs on the devices I use construct entire worlds. I’ve noticed the ability to mentally navigate within these interfaces, much like moving through buildings, and I emotionally engage with a similar sense of experience.

Overdosed 2

Images within this series, can be traditionally classified as still lifes or «натюрморт» in russian (a term derived from the French «nature morte» meaning «dead nature»), but defy this notion. Thus the assemblages of things, transposed from real life to photography and subsequently into the painting or embroidery, appear as objects’ collective portraits that explore human emotions.

Finish Line 

Summer Evening Landscape

The first thing that piqued my interest was ordinary objects and their capacity to evoke memories, experiences, and scenarios when combined in various ways. Essential to this series is Jane Bennett’s text, «Vibrant Matter,» where objects and their assemblies are ascribed the role of actors.

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Dasha Shift