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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.
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.
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.
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.
Under the sky of Belarus
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.
120x100 cm., canvas, acrylic, 2021
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
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.
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.
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.
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".
РЫМ ЭПОХІ ЗАНЯПАДУ
Стан разбурэння, развалу, распаду, што перажывае якая-небудзь галіна культуры, грамадзкага жыцця.
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