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LAZARET project

plaster bandage form, pastel, epoxy resin,
122x102 cm, 2024

AMPUTATION OF ROOTS

Amputation in my work represents loss, rupture, and transformation. This image reflects not only my personal experience of forced emigration but also the collective Belarusian experience, steeped in a history of violent losses, ruptures, and attempts to preserve identity. Amputation becomes a metaphor for the painful separation — from a traumatic legacy, from one’s own history, from the signs of the past that can no longer remain part of the present. It is a process that leaves marks on the body, the mind, and the culture.

Each act of amputation serves as evidence of the pressure exerted by a state system that forces society to discard an inconvenient past, suppressing attempts to comprehend and preserve it. Yet, it is precisely in this loss that space for rethinking emerges: the wound becomes a site of new beginnings, and loss marks the start of a more complex and vibrant identity.

In the Belarusian context, amputation is not only trauma but also a means of survival in the face of violent ruptures with the past. It is the experience of existing on the border between destruction and possibility. My works document this process — they testify to destruction but also to resistance, to loss but also to hope. Here, amputation not only speaks of pain but also emphasizes the resilience of society and the individual to endure, despite pressure, and to find paths to renewal.
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oil on canvas, 86х69 cm, 2024

Political Prisoner Painting


As of November 20, 2024, nearly 1,300 people in Belarus have been officially recognized as political prisoners, and human rights activists have documented over 7,000 individuals involved in politically motivated criminal cases — 6,113 of whom have already been convicted. It is clear that these numbers do not encompass all those subjected to political persecution in Belarus in recent years.

In Belarus, political prisoners are often subjected to not only physical but also psychological torture. One form of such repressive practice involves special tags used to mark political prisoners. These tags signify the prisoners’ “special status,” making them even more vulnerable within the penitentiary system. Political prisoners marked with these tags are automatically subjected to heightened surveillance, harsher detention conditions, and additional pressure from prison authorities.

Former political prisoner Viktor Parkhimchyk, who fled Belarus for Poland in November 2022, managed to secretly bring with him the prison uniform he wore during his detention. Viktor now wants the world to see it. The international community must recognize the scale of repression in Belarus, and every detail, including these tags, helps to reveal the extent of violence in Belarusian prisons.
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wooden frame, hard plastic, 2024

Purge / Ačystka / Təmizləmə


The painting “Purge” explores the universality of the experience of political repression, highlighting how mechanisms of oppression operate regardless of where they take place. Based on the story of an Azerbaijani scholar unjustly accused of treason, this work brings to the forefront not only his personal struggle but also similar tragedies occurring in Belarus, Azerbaijan, and other countries where authoritarian regimes suppress freedom of thought and expression.

This work calls for solidarity, reminding us that borders do not divide us when it comes to fundamental values: freedom, dignity, and the right to justice. Repression in one country serves as a warning to another. Through “Purge,” I aim to show that unity is possible even where everything seems broken. Art becomes a space where the pain of one individual finds the voice of many, and a local tragedy is revealed as part of a global experience. Only through mutual understanding and solidarity can we create a space for resistance against injustice, where memory and attention become a form of struggle for shared freedom.
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plaster bandage form, pastel, epoxy resin,
122x102 cm, 2024

VYCINANKA (ad slova CISK)

bruises from pressure, body, silhouettes of animals, allegory, resilience, bravery, nation.
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plaster bandages, epoxy resin, oil, 66 x 50 cm, 2024

Spleen

In my work, I explore scars as visible traces of invisible stories. They are more than just damage — they are symbols of trials overcome, points of pain that have transformed not only the body but also the very essence of the object or person. Scars on the surface do not conceal imperfections; they highlight uniqueness. Scars remind us of both fragility and strength. They capture moments of struggle and recovery, turning past suffering into sources of power.

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mixed media,88x70 cm, 2024

Purity

A pristine, shimmering painting that mimics the surface of porcelain. It captures the eye with its unusual central element — a human navel. This element symbolizes a profound reflection on the purity and intimacy of human nature. To be pure is not about striving for a sterile ideal but about recognizing that our wounds, vulnerabilities, and joys are an integral part of this profound purity.

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oil on fabric, framed canvas, 113x85 cm, 2024

Cocoon


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plaster bandage form, oil, epoxy resin,
98x75 cm, 2024

FLOWERS OF IDENTITY

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mixed media on canvas, 60x50 cm,2024

Touch

This work explores the delicate boundary between intrusion and transformation. The painting reflects the process of encountering our wholeness and the one who disrupts it. It is an invitation to reflect on how we respond to those who touch us too deeply and how such interactions shape our own identity.

This touch can leave a mark that changes us forever — like a crack through which light enters, or a wound that takes time to heal. Such moments are not merely encounters with another person but also meetings with ourselves. They dismantle the familiar structure of our “self,” compelling us to rethink who we are.

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Cocoon II,
oil on fabric, canvas, 20x16 cm, 2024

Elastic
oil on canvas, bandage, 16x16 cm, 2024

canvas, wood, fire, epoxy resin, oil,110x80 cm, 2024,

Inventory Number

The burned surface of the painting and the inventory number serve as a metaphor for the attempt to comprehend the structure of meaning and to divide the world into “understandable” categories.
This work is a call to reflect on the nature of control and freedom, and on how easily numbers can lose their connection to real people and their stories. The “inventory number” stands as a testament to lost hopes and freedoms, but it also serves as a reminder that each of us has the right to ask questions, to seek answers, and to fight for our own story.

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mixed technique of cement and silicone, 96х76 cm, 2024

SENSITIVITY

Cement and soft silicone in this work create a metaphor for the duality of human nature, where strength and fragility coexist in a complex interplay. Cement embodies resilience and permanence, while silicone symbolizes vulnerability and flexibility. The cracks and streaks on the painting’s surface, reminiscent of scars, serve as symbols of trauma and inner growth, emphasizing that strength often emerges precisely from experienced vulnerability. The variety of textures reinforces this tension: the roughness of cement and the softness of silicone seem to narrate different facets of our experiences.

The contrasting colors — cool gray and warm pink — highlight the complexity of emotional states. Gray conveys resilience and pressure, while pink evokes openness and life. Their combination creates visual tension, inviting contemplation of how external strength and internal sensitivity shape our essence, and how new strength and wholeness arise from apparent fragility.
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OPENING OF THE EXHIBITION IN WARSAW 2023

watch
oil on canvas, tar 102х81 cm. 2022

Maiming

This painting is an ode to the enduring nature of the human soul, forever marked but always evolving.
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Mixed technique. 194 x 77 cm. 2023

Alive / Жыве

The ghost, which goes beyond the dichotomy of life and death, presence and absence, past and present, is what remains, returns, and never dies. Just like Belarus.
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plexiglass mold, epoxy resin, oil
85х65 см.
2023

Sores

The artwork captures the juxtaposition of fragility and resilience. Porcelain, often seen as a symbol of refined beauty and fragility, here represents the human psyche, susceptible to damage yet capable of enduring strength. The 'wounds' depicted on the porcelain are not just physical marks, bt emotional and psychological scars that remain as reminders of traumas.
As the artist, I reflect on the healing process with a touch of hope.
This piece is not just a painting; it's a narrative of survival and healing, encouraging viewers to acknowledge their own wounds and to find solace in the fact that healing is possible, even for the deepest of sores.
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gypsum bandage, oil, 94х72 cm 2023

PAINting

At least I have iodine and bandages to treat these wounds...
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Mixed technique. 31,5х27,5 см. 2023

Veins of Stone

The phrase "blood runs cold" reflects a real physiological reaction where fear causes blood to thicken. This was confirmed by scientific studies showing that in intense fear or stress,
our blood's coagulability increases.
This reaction is linked to our body's primal response to injury threats, where thicker
blood would help in stopping bleeding.
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Canvas, oil,bandage. 85х75 cm. 2022

Victim


In bandages, even if they are dense, there is always a splash of blood. The common theme that connects my works is the entanglement of various traces marked by blood and ruptures of tissue. These materialized wounds are connected to memories of detachment from the home or homeland. Reflecting on the experience of homelessness and forced refuge, my works demonstrate the never-completed, non-linear, and still-bleeding process of healing that transcends the bounds of chronological time.
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tar, oil. 85x65 cm, 2022

Under the sky of Belarus

In Under the Sky of Belarus, she drew the wounded in the form of a white stork. The work is in colours close to white-and-red tones; the stork remains alive. This is how the dying character sees the world before death. However, what is the state of the stork? It gazes (with its eyes bloodied) at emptiness with certainty and confidence. The wounds do not destroy the subject and do not kill. They make the subject Alive, potentially more living and self-aware than before. A trauma event, which took place in the symbolic sky of Belarus, is acknowledged. It is present in the form of an arrow, but the first step is made in the act of acknowledgement.
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tulle, 550x550 cm. 2022

PRISONER

Mourning veil with a barbed wire pattern.
550 X 550 сm.
Barbed wire crown with two large glass tears.

Dedicated to Belarusian political prisoners. With this work, I show my solidarity and express admiration for the fortitude and dignity with which people are going through this terrible suffering. To Belarusians, who were captured in prison for their humanity in the struggle for freedom.
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Bandage on oil, 140х140 cm, 2022

Sign of pain

Creating this painting required more than 100 packets of bandages, which I rewrapped and saturated with varnish across all layers. In my art, the national symbol breaking through the bandages signifies the resilience of the Belarusian people, acknowledging our collective pain. This work is an homage to our shared struggles, embodying the spirit of resilience and the hope for healing and liberation. The symbol serves not just as a testament to our hardships, but also as a beacon of our enduring strength and unyielding determination. Through my art, I aim to tell our stories, give voice to our experiences, and contribute to our shared narrative of resilience, triumph, and hope.

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93X64 cm. Oil on canvas. 2022

Mark


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120x100 cm., canvas, pastel, acrylic, 2021

Belarusian / Беларусачка


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Belarusian

watch the painting come to life

92x72 cm., canvas, wood, gypsum bandage, 2021

Medicine as an art


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120x100 cm., canvas, acrylic, 2021

75x40 cm., canvas, crystal, tar,oil, 2021

Bullet—a fool


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62x52 cm., canvas, wood, tar,oil, 2021

It hurts me



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Сanvas, extruded polystyrene foam, bitumen. 180×120 cm. 2020

DEMON / ДЭМАН


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gypsum, canvas, epoxy resin
80х50 cm, 2020

Rape

Belarusian people were raped

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"The Heritage"

home-woven fabric, embroidery, acrylic paint. 2019


The "Heritage" ("Spadchina") project is a substantive reflection of the Belarusian everyday
life. Belarus doesn’t pay proper attention to the preservation of monuments of historical and cultural
heritage, and buildings having historical value are gradually being destroyed. Architectural
monuments are the cultural heritage of cities and their inhabitants; at present, historical buildings
are replaced by modern typical structures. Therefore, preserving the historical and cultural heritage
is a problem of special urgency and significance.
In pursuit of rampant consumption, we destroy inherited strong houses, throw away solid
furniture and household utensils emptying grandmother's chests; at the same time we strive to surround
ourselves with Chinese things replacing valuable items with cheap "run-of-the-mill" goods.
A consumer society is a massive consumption of material goods and the formation of an appropriate
system of values and attitudes. Moreover, more than half of the purchases we make are
not a vital necessity for us. The society is forced on with the idea that the possibility of acquiring
various "convenient and beautiful things" is the norm.
Each person has a great responsibility for the choice that he/she makes, what deeds, things
and thoughts he/she fills in his/her life with; what things and deeds he/she values. After all, our
daily choice in favour of certain things forms the choice of a society, nation and a generation. Our
daily choices are directly related to the preservation of our heritage.
The name of the project is written in Latin letters. Thus, due to a word-play there is the
word "China" in "Spadchina".


"The Heritage"

canvas, acrylic. 90×70 cm. 2020

SKIN / СКУРА


  

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canvas, acrylic. 90×70 cm. 2020

Plexiglass. Foto: digital printing.85x65 cm. 2019

PLASTICTHEISM

Humanity fully believes in plastic. The work "Plastictheism" is devoted to the stupidity of people whose reckless use of disposable plastics has led to a global crisis with plastic garbage. With this work, I want to draw people’s attention to the global environmental problem of plastic consumption and recycling as well as to encourage everyone to take responsibility and stop using disposable plastics: utensils, bags, and bottles.


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Canvas, oil, chalk, cut glass. 70х50 cm. 2019

BLACK ANGEL OF SORROW


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Canvas, acrylic, tempera. 40x50 cm. 2018

CULTURAL TREND

The pursuit of the possession of fashion brands for most of society in the world has become the highest goal of activity, aspirations, have become a moral ideal. This choice determines our culture today.

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Сanvas, oil, acrylic. 70×60 cm. 2017

HARMONY

Nature is generous; it grants us life, fills our souls, and inspires us with its complexity and beauty.

By utilizing its gifts, we create our own "luxurious" world. We destroy animals, entire populations and species; we use chemical substances in agriculture, poisoning the land that feeds us; we pollute the waters; we mine minerals in unlimited quantities; we release industrial waste directly into the air we breathe. We draw and draw from the earth's resources, taking only, giving nothing in return.

The time has come to take responsibility for every action, to curb our appetites, to give back what is due, to learn how to create our world without destruction. It is necessary to gather all wisdom and emotions to build harmonious relationships with nature.

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Canvas, oil, acrylic. 70×60 cm. 2017

FLESH


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Mixed technology. 50×70 cm. 2018. Weight: 20 kg.

BASIS

Architectural monuments are the cultural heritage of cities, and currently, they are being overshadowed by the ideals of mass culture. The issue of their preservation is relevant today.
Cultural heritage is one of the main ways in which culture exists, and preserving it is tantamount to preserving culture as a whole. Culture is memory, therefore it is always connected with history.
In my work, I transformed an old piece of foundation masonry into gold and set it in an elegant Baroque frame. Through these artistic means, I want to highlight the true value of the "old".

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Canvas, mixed technology. 70×60 cm. 2018

ROME ERA OF DECADENCE /

РЫМ ЭПОХІ ЗАНЯПАДУ

Стан разбурэння, развалу, распаду, што перажывае якая-небудзь галіна культуры, грамадзкага жыцця.

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Exhibitions / Выставачная дзейнасць


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Hello, my name is Darya. I am a Belarusian artist working under the pseudonym “Cemra,” which means “Darkness” in Belarusian.

My artistic practice focuses on exploring trauma, transformation, memory, and identity through the lens of collective and individual experiences. My work is built on a dialogue with historical and contemporary realities. I examine how the experience of post-traumatic states shapes our perception of time, space, and belonging, how memory intersects with the present, and how the past weaves itself into our future. For me, it is crucial not only to reflect on traumatic experiences but also to create a space for their acknowledgment and potential healing.

My art is a space for dialogue where trauma is recognized rather than ignored, where care, attention, and restoration find a place. It serves as a reminder that even through pain, one can find meaning, continue living, and maintain a connection with the past. We live in an era where events—wars, migration, social and political crises—shape the traumatic experiences of entire generations. This makes it especially important to comprehend pain, as it defines who we become and how we perceive our place in the world.


Solo exhibitions
2023 – LAZARET, Beseder Gallery, Prague, Czech Republic
2023 – LAZARET, Museum of Free Belarus, Warsaw, Poland
2021 – AESTHETIC PAIN, A&V Art Gallery, Minsk, Belarus
2020 – CEMRA, Art-Belarus Gallery, Minsk, Belarus

Group exhibitions
2023 – Charity Auction for the Humanosh Foundation, Exhibition of works by Belarusian, Ukrainian, and Polish artists, Piękna Gallery, Warsaw, Poland

2023 – Where am I. Exhibition of contemporary Belarusian art, Montenegro European Art Community Gallery, Budva, Montenegro
2023 – Who Owns the Land: Art as agent of expression conflict, statelessness, diaspora, coloniality, THE PINNA Gallery, exhibition online, London, England
2021 – The Autumn Salon, National gallery Palace of Arts, Minsk, Belarus
2020 – Art-Minsk the international art festival, National gallery Palace of Arts, Minsk, Belarus
2019 – The Autumn Salon, National gallery Palace of Arts, Minsk, Belarus
2019 – Triennial of Young Artists, National gallery Palace of Arts, Minsk, Belarus