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LAZARET project

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

AMPUTATION OF ROOTS

These materialized wounds are connected to my memories of detachment from the home/homeland. Reflecting on the Belarusian experience of homelessness and forced refuge.
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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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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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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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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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92x72 cm., canvas, wood, gypsum bandage, 2021

Medicine as an art


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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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120x100 cm., canvas, acrylic, 2021

Belarusian

watch the painting come to life

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

DEMON / ДЭМАН


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

Inventory Number

Inventory Number is a painting - an echo of a bygone world, a symbol of the lost. This painting was deliberately sacrificed to the fire, becoming a meditation on the ghosts of the past to which we assign names and numbers. The inventory number marked on the painting carries a hidden meaning. Perhaps someone will manage to unravel its secret, but I prefer to leave this enigma unanswered.

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tar, oil. 85x65 cm. 2022

Under heaven

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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gypsum, canvas, epoxy resin
80х50 cm.

Rape

Belarusian people were raped

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

Bullet—a fool


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140х140 cm. Bandage, oil. 2022

Sign of pain


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"The Heritage"

88x70 cm
mixed media
2024

Sexual Purity

A white and gleaming painting that mimics a porcelain surface. It captures the gaze with its unusual central feature—a human navel. This element symbolizes a profound reflection on the purity and intimacy of human nature.

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mixed media on canvas
60x50 cm

2024

Touch


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Spleen

dedicated to my removed spleen
66 x 50 cm
plaster bandages, epoxy resin, oil, 2024
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93X64 cm. Oil on canvas. 2022

Mark


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SKIN / СКУРА

canvas, acrylic. 90×70 cm. 2020

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

It hurts me



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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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Textile, oil. 120x100 cm.2020

TRUTH


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Сanvas, oil, acrylic. 70×60 cm. 2017

HARMONY

Прырода шчодрая, яна дорыць нам жыццё, напаўняе душу, натхняе сваёй складанасцю і прыгажосцю.

Карыстаючыся яе дарункамі, мы ствараем свой "раскошны" свет. Мы знішчаем жывёл, цэлыя папуляцыі і віды; мы ўжываем хімічныя рэчывы ў сельскай гаспадарцы, атрутваючы зямлю, якая корміць нас; мы забруджваем воды; мы здабываем карысныя выкапні ў неабмежаванай колькасці; мы адпраўляем прамысловыя адходы проста ў паветра, якім дыхаем. Мы чарпаем і чарпаем нетры зямлі, мы толькі бярэм, нічога не аддаючы наўзамен.

Прыйшоў час браць адказнасць за кожны ўчынак, прыйшоў час стрымаць наш апетыт, прыйшоў час аддаць належнае, час навучыцца ствараць свой свет не знішчаючы. Неабходна сабраць у адно ўсе розумы і пачуцці для пабудовы гарманічных адносінаў з прыродай.

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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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OPENING OF THE EXHIBITION IN WARSAW 2023

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MY ARTIST STATEMENT
Transmuting Darkness into Triumph Through Art

My paintings become narratives with wings and bandages, where bandages turn into canvases and the body of the painting is perceived as a living entity, adorned with wounds and scars depicted with realistic truthfulness. Utilizing plaster bandages and epoxy resin, I create texture and employ the painterly qualities of oil paint to complete the work.

Blood, as the material evidence of a wound, is always visible, while healing is a process, but is it ever possible? Could the wounded subject avoid the trauma? In my context, this refers to individuals forced to leave their homes and endure separation.

The post-traumatic universe in my works is dedicated to the surviving subjects: all these traces on the body of the painting are not the end; they are the acknowledgment of a new birth in separation.

They are, first and foremost, about the wounded and displaced identities. A wound does not destroy the subject and does not kill. It makes the subject alive: potentially more alive and self-aware than before.

What, then, is Darya’s position? My artistic representation, reminiscent of a nurse, embodies attention, care, and healing. An image present alongside those seeking consolation and possibly healing in art. Someone who mediates between the wounds, the wounded subjects, and third-party observers.

The paintings as a place of “non-enjoyment,” sincere speech without dominance, where the wounds of the addressee are acknowledged. Recognizing the traces of unsymbolized, unbearable trauma guides the subject. They are wounded but alive. Just like Belarus.

My art doesn't just exist; it breathes, it tells stories, it awakens.
My projects are aimed at the development and preservation of cultural heritage, the expansion and nurturing of ethics, trust, empathy, and humanity. I believe that through our creativity and self-expression, we can inspire change and honor the victims of injustice.

ABOUT ME
Darya Siamchuk, 33 years old, born in Grodno, Belarus.
Why "Cemra"? This Belarusian word translates as "darkness". In my conceptual art, I explore the dark and painful aspects of human nature. My aim is to confront the critical issues of our time and to discover a vivid, emotional mode of expression.


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 – 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