An interactive museum is an oceanarium that has both educational and entertaining functionality, working in one bundle (Educational entertainment - Edutainment).
- The work participated in the FUTUWAWA Competition 2014.
- Image source: futuwawa.pl
My master thesis’ subject is "Leisure and education in architecture – Warsaw Aquarium". Architecture is a reflection of the processes taking place in society. Activities that combine leisure and education are an important element of social life. The author have chosen this topic because of the phenomenon of interactive museums that constantly attracts crowds of visitors. Warsaw is the largest Polish city, with a population of 2 mln people, but it does not have any recreation or entertainment center. The city is seperated from the river, over which there are large , undeveloped areas . One of the places that combine leisure and education in Warsaw is the Zoological Garden and the Copernicus Science Centre. ZOO is a very popular place, but it’s the most attractive during warm days, when people willingly choose to wander with their kids, and the Copernicus Science Center enjoys extremely high popularity constantly regardless of the weather condition. In the era of new media, especially among young people, movies about animals are very popular. In the theoretical part of the work, author study how people choose the forms of spending free time, what affect this change in customs and culture of the society. The author explains the concepts of free time, briefly introduces the theories related to this issue and present the different aspects of this phenomenon over the centuries. Using the CBOS "Leisure Poles", the paper presents the problems of free time currently exist in Poland. The theoretical part focuses on the cultural and educational aspects related to recreation and describes the types of associated with the entertainment and education buildings. The idea of the project is based on the creation of oceanic educatorium – the attractive place that combines education and entertainment. The building is located in Warsaw upon Vistula River – on the slot adjacent to the Copernicus Science Center and Warsaw University Library. The building has a footbridge connecting the two banks of the Vistula on the roof. And can be a part of the newly designed cultural-educational path, which is an alternative to the path of historical museums extending along the historic Royal Route. The building combines the functions of education and entertainment in the form of City Aquarium. In addition, the project provides the opportunity to rent part of the building to organize activities for children and adults, so the building can also exist as a cultural center. Public hall can be rented for events, and part of the exhibition can be a bookstore, the place where you can read books without having to buy them. The building is designed to tell visitors a complete story about oceans and animals which live in water, there which will be displayed films and lectures about animals. The interior of the building is designed as a thematically organized tour starting from the top floor (accessible from the main lobby with movable ramps) or directly from the footbridge. The goal of the design was to create a continuous story, supported by the presented animals, interactive exhibition and interior design. City Aquarium is open to people of all ages, and its main aim is to raise awareness among visitors about oceans in an attractive way and to provide good entertainment.
"Urban mountains on the territory of FSO (Fabryka Samochodów Osobowych S.A. - Car Factory)" | City mountain within the area of FSO car factory
A complex of three urban mountains at the former FSO test site. Detached residential buildings with gardens are located on the tops of the mountains.
- Authors: Maja Wrońska, Anna Majewska.
- The work participated in the FUTUWAWA Competition 2013.
- Image source: futuwawa.pl
The project involves the creation of a set of three city mountains on the former FSO test track. Detached houses with gardens are designed on the slope of the highest mountain. Access to the buildings are possible from a spiral ramp around the hill. Services are located on the second hill and on the third one a kindergarten, a school, and a sports center with a football club for young people from Praga district are available. Pulled-up buildings have allowed a recreation park to be designed in the surrounding area. A large number of lawns generate biomass that, suitably processed, could be burned in the incinerator located inside the highest mountain.
The CITY MOUNTAIN would generate a new:
- QUALITY OF SOCIAL LIFE – mountain: an accumulation of buildings – availability of many different functions in a small area – houses with gardens – more flats – the release of land – park – a large public space – space for sport and recreation for the inhabitants of Warsaw – education through sport for young people from Praga district.
- RESPECT FOR THE ENVIRONMENT – pulled-up buildings – saving space – the accumulations of functions – biogas – green energy – the usage of easily accessible and currently wasted material to produce energy (grass from the park and surrounding green areas of Warsaw) – park – a natural landscape park on the bank of the Vistula River – no destruction of the ecosystem – a large biologically active space, biogas fuel.
- QUALITY OF THE ARCHITECTURE – restoring multi-layered social life in a post-industrial, degraded area – houses with gardens 15 minutes from the city center – the preservation of Vistula River’s natural bank.
"Green production - a hyperstructure for 15,000 inhabitants on the territory of the Warsaw Metallurgical Plant" | Green production – a hiperstructure for 15,000 inhabitants in the area of Warsaw Ironworks
student project urban hyperstructure, accommodating 15,000 inhabitants, on the territory of the abandoned Warsaw Metallurgical Plant. The project involves the creation of a center in this area of the city textile industry. The hyperstructure is divided into smaller structures, consisting of 7 flower-shaped elements, which include residential buildings, industrial sites, agricultural sites, schools, kindergartens, colleges, parks, a church and a cemetery. Car traffic is planned to be transferred to the underground level, the surface of the earth is intended only for the movement of pedestrians and public transport.
- The work participated in the FUTUWAWA Competition 2012.
- Image source: futuwawa.pl
Student project of a structure located in the degraded industrial area of the Warsaw Ironworks, aimed at making it attractive and pulling it back to the urban fabric, made in the Independent Laboratory of Industrial and Large Spatial Design of the Faculty of Architecture, Warsaw University of technology. Designing a weaving center will result in people migrating to this area of the city. The increase in the intensity of development, and thus increase in demand for energy has been addressed by the cultivation of energy plants and algae. The whole structure is divided into smaller systems consisting of seven units, visible as a “flower” from above, and it includes a housing unit, industrial unit, cultivaition unit and schools, kindergartens, a college, parking lots, recreational areas, a church and a cemetery. Roads for cars are located underground, the surface is designed for pedestrians and public transport (buses). The structure can accommodate 15,000 people.
Even more than sculpture, painting, with its richness of color and the ability to depict scenes with numerous participants, allows us to see the life of the Mayan people and penetrate deeper into it. She captured the scenes from Mayan life as if in motion: some - like cartoon tapes, others - like real color documentaries.
Technique
Until now, it has not been possible to determine exactly what technique the Maya used for wall painting: whether it was fresco on a layer of still wet plaster or tempera on an already dry surface. It is possible that both of these methods were used.
When analyzing some wall paintings, one can be convinced that at first some light paint (in Bonampak - red) outlined the contours of the figures and the main internal lines; then various colors were superimposed, each in a certain area; they usually covered the interior lines, which were then redrawn with diluted black paint to emphasize additional details. Some parts of the bodies were painted over darker, others lighter, but, apparently, differences in tonality did not seek to obtain a three-dimensional effect.
There are also no noticeable attempts to present perspective in those scenes that have several plans. The interest of the artist is focused on the line, and indeed the drawing reveals the great skill of the painter.
Paints were used of vegetable and mineral origin. Colors cover a wide range: red, pink, orange, yellow, green, cyan and blue, purple, sepia, coffee, in addition to white and black. Mixing colors and their greater or lesser concentration gave the richest palette.
Themes
Unfortunately, very few wall paintings have withstood the weather and the relentless time, and only a few have been found and copied. Some of the murals disappeared after they were discovered, in recent decades. Probably, most of the temples had paintings with historical, religious and ornamental motifs. We confine ourselves to a brief review of the most significant, discovered at the following sites: for the classical period - Vashaktun and Bonampak in the central zone, Chakmultun and Mulchik in the northern; for the Early Postclassic, Chichen Itza and for the Late Postclassic, Santa Rita and Tulum, all in the northern zone.
Washactun
A section of the wall with paintings was discovered in one room of the building "B-XIII", erected in the early classical period, probably in the 5th century. n. e. It shows a ceremony, apparently of a secular nature, in which important persons are divided into two rows, some of which have a higher rank than others, as can be judged by their decoration and location in overall composition. The room where the action takes place is shown very schematically. In this painting, so far the oldest in the Mayan area, the artist’s ability to build a scene composition, the confidence of the drawing and the ability to give movement to the participants in the scene to emphasize the authenticity of the depicted event are already fully manifested. Hieroglyphs, possibly nominal, complement this cartoon story.
Bonampak
The discovery in Bonampak in 1946 of a building with entirely painted interior walls (from the level of the pews to the top of the vault) gave the best idea of what Maya pictorial art was like in the classical period. Three rooms of this building were probably painted at the end of the 8th century. n. e. Relatively good condition murals allowed them to be copied and analyzed in detail.
Bonampak's paintings besides their priceless artistic value very important from a historical point of view, as they depict some moment critical to the Mayan civilization. Several interpretations of the content of the paintings have been proposed:
- a meeting between the rulers of Bonampak and some rival center;
- a raid carried out by the people of Bonampak on a neighboring settlement to capture captives and ritually sacrifice them;
- suppression of the peasant uprising.
We believe that the first two options can be discarded for the following reasons:
- enemies, killed, wounded or captured, do not have weapons and rich clothes, that is, they are not gentlemen;
- captives are tortured before they are killed, which contradicts everything we know about the respect given to captives before they were sacrificed;
- a raid to capture people destined for sacrifice should not have special significance and hardly deserved to be recorded for history.
In contrast, the third alternative seems to us likely or at least justified by the very content of the paintings: the enemies of the rulers of Bonampak are easily defeated, they are simple people, and before they are killed, they are punished with torture, pulling out their nails, according to what can be seen. In terms of time, the paintings were made at the end of the late classical period, that is, just shortly before the Maya civilization suddenly declined in the central zone, cultural activity ceased and the priesthood physically disappeared. In addition, if we assume, like E. Thompson and some other researchers, that peasant revolts really put an end to this civilization, then it is quite obvious that the first attempts at liberation could be unsuccessful and the ruling class decided to perpetuate the massacre of the rebellious lower classes in order to intimidate all the discontented.
Thematically, these paintings are arranged in the following sequence:
- In the eastern room, under the auspices of the deities located in the upper part of the vault, the halach-vinik, members of his family and his three batabas are first prepared and then present, accompanied by the most senior persons of the Bonampak court, in a procession of musicians and dancers; in the middle lane - merchants or servants bring them items made of jade and jaguar skins; the other strip contains a hieroglyphic inscription, which should complement the narrative depicted.
- In the central room, the gods are partly replaced by human figures dressed in robes (there is an assumption that these could be artists) who stand among captives and animals; almost the entire surface is occupied by the image of the battle, trial, torture and death of captives.
- The deities again occupy the entire upper part of the vault, while the halach-vinik, his family, batabs and other dignitaries watch the dance performed on the steps of the platform, in gratitude to the gods for the happy end of the social conflict *
* (There are other interpretations of the plots depicted in the frescoes of Bonampak. - See about this: Kinzhalov R. V. The culture of the ancient Maya. L., 1971, p. 210-214)
The historical nature of the event reflected in the wall paintings in Bonampak is obvious. The style of the paintings is realistic and dynamic. With genuine naturalness, he conveys the dramatic tension experienced by all participants in the depicted events - both gentlemen and peasants, each in the role that he was destined to play.
Palenque
Traces of wall paintings have been discovered in several buildings in Palenque, mostly in very poor condition. In the so-called building "E" the facade was painted from the base to the level of the lintel. 75 decorative motifs of a geometric nature were identified, out of a total estimated number of about 150, determined from the remaining traces. It was possible to establish that in the northwestern inner corner of the same building there was now a completely destroyed painting, which included a human figure. The northern entrance retains part of what formed the inner frame; side motifs could depict a symbolic strip of water or the body of a snake accompanied by fish.
In the "C" building, the contemporary artist Villagra, on the basis of a few recognizable elements, supposedly restored an offering scene similar to the scene on the "Palace" panel and the "Slaves Panel". In the northern gallery, he copied a hand-drawn hieroglyphic inscription on a strip that formed a square, unfortunately very destroyed. A fragment of a possible calendar inscription was also found on the last floor of the tower.
Despite being more than 300 km from Petén, this monument of the Puuk district retains murals that are thematically and stylistically related to those of Washaktun, from which it is chronologically separated by two centuries. It is clear that the tradition history painting was widespread in the classical period, both in the central and in the northern zone.
In some rooms of Chakmultun's buildings, built in the late classical period, the interior walls and vaults were painted. There were several scenes divided into sections, apparently of a secular nature. They involve numerous characters depicted against the background of silhouettes of architectural structures (platform, staircase, temple or dwelling with a palm roof). With the exception of headgear, which is quite varied, the characters wear little clothing; they have weapons, umbrellas and other items. Some stand motionless, others walk, climb the steps, carry weapons, give orders. The one-plane composition is well organized.
Drawing from the "Panel of Slaves" in Palenque
The similarity with Maya painting of the classical period is obvious. However, the movements here are emphasized somewhat naively, and the style is quite provincial, which, however, is natural, given the place of this monument in the political framework to which it belonged. Nevertheless, these murals are a good example of classical pictorial art in the northern zone.
Mulchik
While the painting of Chakmultun is fairly close to that of Washaktun, the paintings of Mulchik, a small monument in the Puuc district near Uxmal, resemble, albeit faintly, those of Bonampak, which were more or less contemporary.
The themes are quite similar, as they are mainly about battle and the sacrifice of captives. However, some differences make us think that the military conflict here could have had other causes than in Bonampak. Only ordinary people participate in the fight, almost naked, without any attributes that could indicate their high social origin. The fight between two groups of people takes place without the use of any other weapon other than large round stones. The dead lie on the ground; hanged are depicted nearby. Above the combatants is seen a man painted in black and holding a knife. On either side of this scene are several characters in large and rich headdresses trimmed with feathers (as in Uxmal), with a mask from whose mouth a snake comes out, and with numerous decorations and ribbons on their arms and legs.
It is not known what were the relations between these important gentlemen and the fighting ordinary people, but in the scene on the opposite wall, two executioners, painted black, armed with large knives, are shown preparing to kill two high-ranking people lying on the floor.
As a hypothesis, it can be assumed that the historical event that they wanted to perpetuate was not a peasant uprising against local rulers, as in Bonampak, but the performance of Mulchik's batabs against the rulers of Uxmal, more major center on which Mulchik depended. The masters of both settlements did not participate in the battle, but the leaders of the failed uprising were sacrificed.
Before us is again a picture that captures, apparently, an important historical moment. The artistic means used here are much more modest than in Bonampak. Nevertheless, the creators of this composition managed to convey all the drama of events.
Chichen Itza
The transition from the classical period to the postclassic meant for the Yucatán the replacement of the Mayan ruling class foreign rulers who were the bearers of the Toltec culture, known to us from Tula, or Tollan, as he was called in ancient historical sources. In addition to political dominance, the invaders imposed new beliefs and new deities, their artistic tastes and techniques, which gradually merged with Maya traditions. In painting, these changes were reflected in the same way as in architecture and sculpture.
With the exception of rare examples discovered in the "Women's Monastery", all other wall paintings belong to the early post-classical period (XI-XIII centuries) and clearly show Toltec origin, although some details of the composition of individual scenes and technical skill lead us to assume that many of the of these paintings are made by Mayan artists. Below we consider the main paintings found in two buildings of the "Temple of the Warriors", located one above the other, and in the "Temple of the Jaguars", which is part of the ball game complex.
Battle scene from the Temple of the Warriors at Chichen Itza
The building found under the "Temple of the Warriors" was given the name "Temple of Chakmool". Paintings that retained their brightness were found on individual stones from fallen walls. These paintings were copied. Then they were partially able to determine their original order, which made it possible to restore the scenes that were once composed of them.
The stones were part of the lining of the benches located along the walls and surrounding the altar. They depict two groups of people, mostly looking at the altar. Fourteen personages on the south side (probably priests) sit on benches covered with jaguar skins; their costumes are sumptuous and include elaborate plumed headdresses, masks with a snake coming out of their mouths, long skirts, short cloaks; shields, serpentine scepters and offerings lying on dishes are depicted. The people sitting on the opposite side are warriors armed with javelins and shields; they are presented in profile on thrones in the form of a jaguar. Warriors and priests do not have Mayan features.
Now we will touch on the "Temple of the Warriors", located above the "Temple of Chakmool" and built later in time than it. Stones found in construction debris from collapsed walls have retained traces of paint. As a result, several scenes of epic and historical content were restored. The salvaged elements of the western part of the wall dividing the temple into two rooms contain the following motifs:
- a water surface surrounded by a stone strip, where a porter is walking, and where several warriors are fighting, whose bodies are painted with horizontal reddish lines; a temple and a boat, probably captured by a warrior, are also depicted here;
- the huts of the village and the temple are attacked by warriors whose bodies are also covered with lines;
- a procession of naked, striped captives with their hands tied, led by warriors painted in black; at the bottom of this scene is a feathered serpent.
Inside the sanctuary, painted stones make up a scene divided horizontally into two parts, forming a single thematic complex. Here an attempt is made to express some real events: below is the sea, along which several boats with two warriors in each float; their bodies are painted the color of dark coffee; they are armed with darts, spear-throwers and shields, that is, weapons characteristic of the Toltecs; one warrior has a light body; in the upper part of the scene is a village located on the seashore, the inhabitants of which are busy with their daily work; the palm roofs of several huts and the temple are engulfed in flames, and a feathered snake emerges from the temple. These fragments indicate that the theme of the large wall painting was associated with the conquest of the northern Yucatan by the Toltecs.
Several stones depict human sacrifice; a fair-skinned man, held by two people painted black, is waiting for a blow to the chest, which should be delivered to him by a nakoma, also with a black body; the victim lies on the bend of a feathered snake, which serves as a sacrificial stone. On the outer northern slope of the same building, a procession of human figures, stripped of flesh and carrying knives, is depicted. human heads and a blazing brazier.
The small temple that rises on the eastern platform of the ball game complex is called the "Temple of the Jaguars" because of the image of the procession of jaguars in the decoration of the facade.
The temple consists of two rooms; the interior, apparently, was painted in its entirety. Unfortunately, the paintings are badly damaged. The most preserved and famous depicts a battle in which more than 100 characters participate. The upper part of the mural paints us a picture of the peaceful life of the Mayan village; then follows the scene of an attack on her by foreign warriors. Although on a small scale, numerous warriors are shown in the battle armed with spears, javelins, spear throwers and shields, and the confusion of the battle is expressed in a variety of ways, such as crossed spears; all this is conveyed in a very dynamic rhythm. In another section of the same room, a scene of human sacrifice is presented, where a group of warriors, present at this ritual act, dances around the captive.
On the other wall you can see a big red boat with warriors. Murals in Chichen Itza are narrative in nature where scenes are reflected Everyday life, and religious-symbolic - where death or sacrifice is represented. Artists, whether Toltec or Maya, strove, especially in battle scenes, glorify the military caste of the conquerors and leave for posterity a description of its exploits.
About the creative manner of the artists of Chichen Itza, we can say that they achieved their goal, using the mean means of artistic expression, limiting themselves to only the most essential and not going into excessive detail.
Santa Rita
At the end of the last century, near Corozal, in Belize, several artificial hills were discovered. In one of them there was a building, on the outer walls of which murals were preserved. They were copied, but soon died. The Santa Rita wall art takes us into an artistic world quite different from the one we have been dealing with so far. There was no attempt to perpetuate a historical fact or to glorify the rulers.
Here is the mythological world that is described in many pre-Hispanic codices. Under the symbolic celestial "belt", similar to the "belt" from the Mixtec codices, along a strip of land, also conditional, decorated with arrows, sacrificial knives and flames, a number of characters walk in complex decoration, including animal helmets, masks, several clothes one on top of the other ; these people perform actions that could hardly be interpreted in a real, historical context. These are probably the deities participating in the procession; some are connected with ropes, others sit and talk, their bodies and faces are painted.
The most understandable scene depicts two people separated by a drum adorned with a human skull, which must be singing, judging by the double jet of whorls-words coming out of its mouth; on top of the drum is a solar disk with triangular rays, star-eyes and a reptile's head, very similar to that known to us from the Mexican or Mixtec codices. The face of the character playing the drum is covered with a mask depicting a skull, he is wearing a flat headdress, ending with a plume and a snake; his body is not visible, like most of the figures, because of the incredibly lavish robes, trappings of power, and adornments. Another character, also in magnificent clothes and an elaborate headdress, holds two severed human heads in front of the drummer. These images are accompanied by Mayan calendar hieroglyphs, which are dominated by the sign Ahab along with numerals of dots and stripes.
The murals of religious and mythological content from Santa Rita were made in the late Postclassic period in a style very similar to the style of the Mixtec codices, the style of the Codex Borgia, and also the style of the Mixtec murals of Mitla. For the artist human bodies didn't matter; special attention had to be paid to clothing, attributes of power, face painting, all the elements that characterized the deities.
In several buildings of this city, fragments of paintings have been preserved that previously covered most of the facades and interior walls (these are temples known as the "Diving God", "Temple of the Frescoes" and "Castillo"). Again we have before us religious-mythological themes, expressed, as in Santa Rita, in a style very similar to that of the codices. The motifs include scenes with one to three deity participants, among which the goddess of vegetation and the god of rain predominate; in addition, there is an old deity who may be Itzamna. The goddess grinds maize grains on metate; a priest in a mask of turquoise and mother-of-pearl, in a headdress decorated with a shell, holds a bag with incense (copal).
The central theme seems to be the dependence of vegetation on rain and a reminder of the rites necessary to ensure good harvests. The figures are less static and not as overloaded with details as in Santa Rita. Colors used: white, black, blue turquoise and very rarely red.
Drawing based on the "Temple of Frescoes" in Bonampak, which represents different strata of society
Tulum wall paintings belong to the late postclassic period (XIII - late XV century). These are real pages of codices reproduced on the walls. And although alien influences are noticeable in them (Toltec, Aztec, Mixtec), nevertheless they are closer to the Mayan culture.
The theme of women, of course, is dominant in the works of the Georgian artist Maia Ramishvili (Maia Ramishvili). From each of her paintings, pensive girls, exquisite ladies, fatal beauties look at us - all incredibly feminine and beautiful.
If we talk about the works of Maya, then we can not say about their decorative nature and the artistry with which their character is conveyed. The background of her paintings resembles fabric collages, in which the artist carefully thinks through and embodies every detail and pattern. Looking at the canvases of Maya Ramishvili, the viewer wanders around the picture, trying to notice every detail and then, finally, realizes that for the author they are not details at all. So much energy has been invested in the background that it can hardly be called a background! The heroines have expressive eyes, excessively big hands, sometimes with nervously clenched fingers - each element, at first glance, even insignificant, brings its share of expressiveness to the picture.
Maia Ramishvili's paintings combine the artistic experience of Georgia and European traditions, which opens up new and interesting possibilities in the field of art. Maya is the same artist whose works do not lose from the combination of these two principles and immerse the viewer in the world of amazing aesthetics and harmony.
“It is very difficult to define the style in which I create my paintings,” Maya says, “because the artist does not think about what he creates while creating his work. Artistic works come from within and convey your mood, relationships, emotions…”
Maya Ramishvili was born in 1969 in Tbilisi, the capital of Georgia. Her artistic talent manifested itself at an early age, so there were no problems with choosing a profession. Maya graduated from two prestigious educational institutions: art school them. Nikoladze and Tbilisi state academy arts. After graduation, in 1996, Ramishvili's professional career began. Maya's husband is also a professional artist - Mamuka Didebashvili.
The artist herself tells about herself briefly:
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Maya Myakila - Swedish artist, schizophrenic. Known for her psychedelic and terrifying paintings. Born March 21, 1979 in Norrköping, Sweden.. She currently lives and works in Stockholm, Sweden.. She is a Swedish artist known for her lack of education..
The artist herself tells about herself briefly:
"I think they call me 'Fear Painter' because I deal with difficult emotions and themes such as fear, longing, madness, anger and grief are present in my art. But I am mainly inspired by films and directors such as David Lynch, Ingmar Bergman, Alfred Hitchcock, Roy Andersson, Terry Gilliam and Tim Burton and artists - Hieronymus Bosch, Pieter Brueghel, Francisco Goya, Jean-Michel Basquiat and Disney Studio masters in the 1930s and 40s ..
According to the author so scary pictures, the main thing in life for her is the truth. “Well, there is still love and art, and they are perhaps more important, but if we do not live truthfully, we cannot truly love a person, and if we do not speak the truth about works of art, then about no art and speech it can't be,” says the artist.
It is the truth that she considers the main goal of her terrible paintings. Even if it's a pretty creepy truth. Mia Makila touches on many topics: politics, love, people, life in general. Judging by Mia's paintings, there is no truth in the world that hides something good. I wonder how Mia herself knows that all this is true? One way or another, she finds in her paintings the embodiment of her demons and nightmares, her fears and sorrows, she paints them in order to get rid of them. In her paintings there really is a lot of stuff from nightmares: creepy incongruous images. Collected by some inexplicable logic in one place.
Maya Myakila (Mia Mäkilä) is a famous Swedish artist suffering from schizophrenia. She herself learned to draw and, in general, considers herself a poorly educated person. She was born on March 21, 1979 in the city of Norrköping, now lives in Stockholm, where she is actively engaged in creativity. In addition to the surrounding reality, Maya is inspired by the work of directors. David Lynch, Ingmar Bergman, Alfred Hitchcock, Roy Andersson, Terry Gilliam and Tim Burton are her favourites. Among the artists: Hieronymus Bosch, Pieter Brueghel, Francisco Goya, Jean-Michel Basquiat and the masters of Disney Studio. If you look closely at her work, you can clearly trace their influences.
Her work can be regarded as a cry for help, a sick and unhappy girl. But, who are you and I to condemn and teach the "sick", and possibly a brilliant author? Maybe, if it were not for the disease, then these works would not exist? You can remember how David Lynch refused psychotherapeutic help, suspecting that as a result he would not be able to make his strange movie.
The most common motifs in Maya's paintings and collages are family, loneliness, spiritual deformity and death. Group shots of disfigured and deformed faces, set against a utopian or empty world. But are they corrupted? The artist seems to reveal bright faces with a brush. Revealing the monsters hidden under the mask. In these drawings, ordinary people who are angry, lie and destroy. And they feel fear.
Each of us is sick on a subconscious level, and each splashes out his thoughts, his energy - in completely different ways. Loneliness and longing are overwhelming, we drown in it when there is no one around except ourselves and our thoughts. Which splash out: for someone in the form of suicide, and for someone in the form of creativity. This is an endless chain under the loud name - the system - which lasts forever. It spins like a wheel, but if the system is eternal, then life, unfortunately, is not. Maya, not afraid, cuts the bodies with sharp scissors and glues together from pieces and scraps of history - our world, which presents us from the point of view of a madman. From the point of view of normality, but vice versa, because who knows, maybe in these pictures, we are now with you.
