The mixed exhibition titled “My Fairy Tale,” which merges storytelling and visual art, has opened at Ruzy Gallery. We spoke with Nina Murashkina, one of the artists in the exhibition, whose practice is centered on the image of women, about her work.
Ruzy Gallery, which opens a whole new space for thought, research, and practice for artists, brings together the works of nine artists in the mixed exhibition My Fairy Tale. In the exhibition, where artists treat the concept of “fairy tale” as a personal, social, and political metaphor, Ukrainian artist Nina Murashkina’s works focus on bold images of women based on her own sexuality and personal experiences. We discussed the image of women in her works, both strong and fragile, as well as her sensory and metaphorical world.
You are showcasing your works in the mixed exhibition My Fairy Tale at Ruzy Gallery. Considering the pieces in this exhibition, how would you define your artistic production?
The works I am presenting in My Fairy Tale at Ruzy Gallery are symbols of my artistic practice and my efforts to explore womanhood through individual stories. First and foremost, this strongly aligns with my creative practice because I express my art primarily through symbolism and metaphor. The pieces in the exhibition, Coquettes—Little Coquette and Big Coquette, represent two phases of a woman’s life: childhood and adulthood. Both pieces were produced in oval shapes, which, for me, symbolize a closed microcosm, a harmonious space without sharp angles or sudden transitions. They represent a unique, fairy-tale universe where the magic of femininity and surrealism reigns.
**The central theme of your artistic production is “women.” Why and when did this interest become central to your art practice?** The theme of women has always been present in my work. Since my childhood, I have perceived women as beautiful and multifaceted in every way. My first engagement with the image of women began when I decided, at the age of five, to prepare a special birthday gift for my father. Using all the details my childlike imagination allowed, I drew a naïve depiction of a naked girl on an A2 sheet of paper. The presentation of this drawing took place at the architecture office where my father, an engineer, worked. A group of about 30 people had gathered to celebrate my father’s birthday. When they opened my drawing, it was a perfect moment for me… The reactions were beyond what I had expected. My father and his engineer colleagues were truly surprised that a child of my age had an interest in depicting a naked body. The lively reaction I received from the audience became the defining driving force of my artistic journey. Since then, the theme of womanhood has remained at the center of my artistic practice. The emotions that the audience experiences when interacting with my works are reflected back to me with equal, if not greater, intensity. And that is something priceless for me.
Nina Murashkina: A Vivid Representative of Womanhood
How does your identity play a role in this process?
I am a vivid representative of the world of womanhood, and I take great pride in this as a woman. A woman is a unique being with immense inner potential, capable of creating miracles. In my perception, she is like a goddess… When I work on a new piece, I fully immerse myself in the process, living the story with the character I am depicting. This allows me to discover myself more deeply through the image created, while also bringing it to life and filling it with spirit. Most of my heroes carry the essence of my image, but I also work with models, posing them and making live drawings. Working with live subjects creates a special moment where the natural flexibility of the human body and the charisma of the model meet. This moment becomes a catalyst for new stories, inspiring me. Thus, I recreate the image of a woman through vivid and striking figures.
You recreate the image of women through vivid and striking figures in your works. Could you elaborate on the figures and symbols you associate with womanhood in your productions?
One of the most important symbols I use in my works is the eyes on women’s breasts. This symbol has two meanings: the first is ironic: when a man looks at a woman’s breasts, he comments on the beauty of her eyes. The second meaning has its roots in ancient Greek mythology. There was an almost forgotten goddess, Baubo. She was the goddess of the earth and female sensuality. Her body was anthropomorphic: instead of nipples, she had eyes, and instead of a vulva, she had a mouth. Her role was to visit goddesses and women in despair, to revive their spirits with laughter, jokes, and dances, and to awaken their vital feminine energy. I have integrated this image into my works as a symbol of female power and intuition.
Additionally, I actively use animal symbolism in my works. For example, a snake can represent a phallic symbol or embody wisdom, depending on the context. My artistic interpretation often involves transforming characters into animals or anthropomorphic beings, turning the narrative into a surreal fairy tale. In my works, you can find deer or goat-headed men, complex flower motifs such as lilies and daffodils, angels, and various writings that strengthen the meanings of the pieces.
Nina Murashkina: Women’s Identity Is Not Valued Enough
Today, women’s identity is often seen as ambiguous and undervalued. How do you address this issue in your works? What is your outlook on the future of women’s identity and its evolution?
Undoubtedly, women’s identity is still not valued enough, and the number of recognized male artists is still significantly higher than that of female artists. However, I believe that the presence of women in the art world will increase both quantitatively and qualitatively, encouraging more equality and recognition of their contributions.
Is there anything you would like to add?
A new dimension has emerged in my artistic practice—ceramics. In 2023, I won first place with my ceramic vase series Still Waters Run Deep at the “Best Design of the Year” exhibition held at the Barcelona Design Museum. The painting of ceramic forms allows for a continuous development of a story around the surface, which is very important to me as I work with narratives and visual storytelling. Additionally, three-dimensional objects add depth to my exhibitions, enhancing their expressive power and making them even more engaging for viewers and collectors.
The My Fairy Tale exhibition, spread across three floors of Ruzy Gallery, will be open until April 20th.
