Side-by-side, Kulikovska's two sculptures are similar but with two clear differences: her pregnancy and the bullet casings inside. Kulikovska creates these moulds of her body and fills the sculptures to reflect what is happening around her. In one is just flowers; then, when she becomes pregnant and the war begins soon after, she adds the bullet casings she found in the military fields. Kulikovksa uses these sculptures to show how our bodies are affected by our surroundings and highlights the implications of this during pregnancy and raising children.
Volokitin uses hyperrealism to depict a dark and unusual scene. He creates the illusion of movement in these bright chandeliers, which swing from above. There's a stark contrast between the brightness of the chandeliers and the pitch-black of the garden. The expertly realistic lighting illuminates the leaves with a subtle glow.
'Nice day' uses images of ingredients, flowers, a peacock, and the words 'Fuck you' 'have a nice day' to create an ironic and bizarre image. This tapestry uses embroidery and textiles to make this satirical piece, imitating common household art. Full of a repeated pattern of small, cartoonish ingredients, Podervianska comments on the commercialism and unoriginality of such pieces, which are generally produced en mass. Furthermore, the embroidered peacock and flowers are commonly depicted images in typical household art pieces. This is all contrasted by the shocking words, 'fuck you', bordered by flowers, and the amusing 'have a nice day' in small letters underneath.
Moskalet's series, 'Lacuna', is a tender homage to maternal lineages, intertwining two generations into a single scene. She pays tribute to the enduring bond of maternal love and wisdom and the gentle strength that is passed down through generations. The concealed face signifies the shared stories that connect women across decades.
