PROJECTS AND EXHIBITIONS

Inflatable toys made of PVC are created for joy and pleasure during your summer holiday by the water. But at the end of their life, they become unnecessary waste. The "swindle" is made from hand-upcycled toys like these. The resulting multi-colored compositions, similar to gasoline stains on water, are a sign of “swindle.” He points out the false availability and safety of both PVC toys and city rivers, as well as the sad consequences for our lives and the environment from our indifference and negligence. Made from recycled toys, The Swindle also celebrates the power of transforming even the most challenging situations into something beautiful and inspiring.

There is a version that “Simbir” (Sinbirsk was the name of the city in the 17th century) is used in the meaning of “sacred mountain”. And knitters of the 19th century. in the Lower Volga (the so-called hosiery women) knitted vatols (blankets) and wove linen products. In creating this object, I would like to pay attention to the traditions of the region and my historical roots and weave a sacred mountain - a symbol of the place. The linen mega installation on the Sviyaga River (Turkic - vit) in the city of Ulyanovsk was created in the format of a laboratory for citizens who want to add a piece of their creativity to the installation being created.

The fairy-tale installation was invented by the artist based on floral ornaments of wooden architecture and Ural-Siberian folk embroidery. The place for work was not chosen by chance; previously there was a wooden hotel of Fyodor Petrovich Loshkomoev here, and Dzerzhinsky Street itself, rich in historical monuments, used to be called Sadovaya. To create a large-scale work, Ulyana Rozina held a laboratory, inviting active citizens of all ages to take part in it. She invited residents to immerse themselves and knit/embroider with crochet or simply with their hands on the mesh surface of the fence plant associations with Tyumen, grandmother’s garden or childhood yard. The resulting ornament symbolizes the unity between nature and the urban environment, building a bridge between folk crafts and modern art.

The town of Chekistov in the city of Yekaterinburg is a monument of constructivism. But it is also a green island in the city center. On its territory there are pre-war trees and rare plants.
The idea for the installation was suggested by the place itself - the ancient flagpoles on the gates of the town have not been used for a long time. I invited residents and guests of the festival to connect the elements of the town’s nature and designed the parts into a single composition. The result is a symbol of the town - a green flag.

A knitted installation made of flax and copper symbolizes a rethinking of the traditions of the times when the Turchaninov-Solomirsky plant was working at full capacity. As you know, only men worked at the plant and processed, among other things, copper. Women in those days took care of the house and processed flax (the Urals have the oldest flax deposits), which provided food and clothing to the entire working family. Just as trees are currently growing through the buildings of the factory, supporting the walls with new strength, my installation as a combination of the masculine and feminine principles, as the birth of a new force, as rebirth supports the walls of the old factory. In addition, the installation symbolizes a new rune, carrying the meaning “beginning”, “perfection”, which gives the plant even greater power.

My works are about new aestheticism and new materiality. I refer to the material itself through tactility, to the problems of creative transformation of material through aesthetics. This is about comprehending beauty and comprehending beauty.

I am interested in the material in the process of transformation - it is a material that can be transformed. His choice is also not accidental: threads are my past, something that I inherited from my ancestors;

pastes and paints are an understandable movable material that belongs to "art".

I use their symbiosis and rift to find new meanings. This is the foundation for rethinking the Ural identity of women's craft as an art.