The series “Android Tatiana” is built on the synthesis of painting and textile. At its core lie classical landscapes painted in oil on canvas with multiple layers of glazing — a direct reference to the Romantic tradition, where nature was understood as a space of the sublime and untamed. Yet upon this harmonious structure, the artist overlays embroidery — an alien, “noisy” element that transforms the smooth surface of the painting into a field of conflict.

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By naming the subseries “Android Tatiana”, the artist underscores the direct link between forms of exploitation and patriarchal thinking. At the same time, her embroidery traces on the surface unsettling contours of a possible total breakdown — a technological “glitch” on which the very future of civilization might depend.

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In Android Tatiana the artist maintains tension between media, allowing painting and textile to interact as irreducible yet equal elements.

The series resonates with contemporary art criticism, where notions of “failure,” “glitch,” and “system error” are seen as productive tools of resistance — a kind of deconstruction of established narratives of harmony, progress, and technological supremacy. Ironically, one of the initial impulses for this work came from Ilya Kabakov’s exhibition “Not Everyone Will Be Taken Into the Future” (Moscow, Tretyakov Gallery, 2019), which also questioned the universality and linearity of the modernist cultural project.

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