current shows 2025/26:
Möllegården Kulturhus Åkarp
Salsta Slott Uppsala
“I work primarily with oil paint, exploring the act of translating reality. None of us sees the world exactly as it is—our eyes and minds assemble impressions into something we call “real.” My paintings follow that same process: noticing what catches my attention and amplifying it. My subjects come from the mirror, from the things I see around me, and from what lives quietly in my heart. For me, a good painting is like a good work of fiction—something that can feel more true than reality itself.” /Palina
GLOW
series - 2022. Oil on canvas, 48x95cm, 50x70cm, 67x55 cm
This triptych depicts the encounter between solitude and togetherness in the dark.
Each painting shows a female figure against a deep black background, the stillness and introspection of loneliness.
But together, the figures form a subtle sense of community, sharing the same darkness and growing closer through their presence.
The artwork highlights how our individual experiences of darkness can unite us in a quiet kinship, where we find strength and closeness despite the distance between us.
DAPHNE
2021, oil on canvas, 115x150cm
This painting draws inspiration from the myth of Daphne and Apollo. In the myth, Apollo’s obsessive love for Daphne leads him to pursue her relentlessly, ignoring her lack of affection. Terrified of being raped, Daphne pleads with the gods for help, and they transform her into a tree, which Apollo still claims as his own.
I found the portrayal of this story as a tale of love to be deeply ironic. In my depiction, Daphne is shown as a woman fighting to escape, determined to retain her autonomy. Unlike the myth, where her only escape is through transformation, my Daphne strives for freedom without having to sacrifice her humanity. Escape and survival are possible without losing herself.
I SEE RED
2024, oil on canvas, 38x47cm
“The vibrant red underpainting infuses it with life, and I am particularly pleased with how the stars turned out. It depicts a young girl, a friend of mine, holding a semi-transparent cloth in front of her face. Painting the shadows of the tiny stars on her skin was especially enjoyable; these delicate star-shaped shadows were a real treat.
Filling the red spaces between the stars with rich, straight-from-the-tube red paint was a joyful process, and I even included some text within these spaces. “
ASLEEP
2023, oil on canvas, 41x41cm
“For years, I have been drawn to the idea of incorporating more masculine figures in my paintings. Yet, whenever I set out to portray a subject, my mind instinctively gravitates towards feminine faces and forms. This inclination is perhaps influenced by the works of the artists I admire, whose pieces predominantly feature female figures—a trend not surprising given that 98% of artists in renowned museums are male and 98% of the figures painted are female.
Each attempt at painting a male model left me dissatisfied; the resulting images felt more like specific portraits than the emotive, universal expressions I sought. Determined to capture a man's face in a soft, almost flower-like way, I started this project with meticulous planning.
I carefully selected a high-key color palette to merge the face and pillow, transforming the bed into a magical forest. Inspired by Allen Tucker's impressionist landscape "Cold Beverly," I chose to work exclusively with the lighter spectrum of oil paints, striving to transcend realistic colors and instead evoke pure feeling. The initial sketch was even lighter, with the orange imprimatura glowing through the purple hues.
The sweater blends seamlessly into the blue pillow, while the ultramarine and white mixture offers a striking contrast against the off-white background. This work is about my journey in balancing the depiction of male figures with the emotive and aesthetic qualities that resonate deeply with me.”
FOREST WINDOW
2024, oil on canvas, 138x120 cm
“The "Forest window" is part of a series featuring shifting windows—conceptual portals that disrupt reality within the painting plane. These windows serve as collage-like fragments, juxtaposing different views within a single composition.
As a child, my imagination was profoundly influenced by Philip Pullman's novels. I devoured his works much like I did the Chronicles of Narnia, without dwelling on the underlying themes, but one concept from Pullman’s books left a clear mark on my memory: windows to another world. This idea of parallel realities captivated me, fueling a youthful imagination already brimming with visions of alternate universes. Painting has become my means to bring these early fascinations to life.
My own experience of stepping into a parallel universe occurred when I moved from Belarus to Sweden. This pivotal decision, more than any other, clearly altered my life’s path. While I cherish my life in Sweden, I often contemplate the version of myself who remained in Belarus. This other Palina might be sitting in a studio in Minsk, writing this text. Perhaps she is not an artist at all, pondering her own set of challenges.
Reflecting on this alternate existence has a grounding effect, reminding me of the complex interplay between choice and fate. It underscores how our interactions with others, fleeting encounters, and creative endeavors offer glimpses into the myriad lives we could lead. This multiplicity of possibilities provides a sense of freedom and control, allowing me to embrace my current reality without regret.
In my art, I aim to capture this essence of parallel lives and the windows that connect them, creating a visual narrative that invites viewers to explore their own alternative paths.”
"We are all subject to the fates. But we must all act as if we are not, or die of despair." - Philip Pullman, The Golden Compass
BREAKTHROUGH
2021, 4x3m. The mural is a powerful and dynamic work that delves into women’s place in society and their capacity to ignite transformation.
The explosion is not an act of destruction, but a revelation—an eruption of creativity and the unstoppable force of change.
