Black Calendar, graphics, installation, 2022
 In Black Calendar, the approximation of the current world is represented. The sheets of black paper with rugged edges look like pages torn from a diary. The endless black field, sparsely populated by trees with sharp bare branches, interspersed by bogs, wetlands, and quicksand, serves as the backdrop for depiction of life of some human community. The characters are trying to construct their own world, small ‘lifesupport capsules, ’ to adapt to the environment after an apocalypse. In this dystopian space, humans are faceless, the social structures are governed by strict rules and comprised of the controllers and the controlled, the creators and the escapers, the resigned and the resistant. This collective whole seems to move in circles, to wander in the fog and the endless darkness. Can you adjust to the world if you have no project for the future? Can anything be saved when everything is lost? Can you grow plants in poisoned soil? People are left on their own in this black universe, but even if they see not a single ray of light ahead, they are still trying to uild something. Their thin chalk-like figures can be erased forever, ashed away from the horizon of this unwelcoming landscape. Or, onversely, they can gain flesh and blood, become full-bodied and olid. In this case, there is a chance for the darkness to clear up just a bit.
 Fragmets of curated text by Marina Bobyleva