25x37;
Fine Art Photography;
2025
In this self-portrait, opulence meets oblivion. A regal woman resembling the likeness of Marie Antoinette commands the foreground, her powdered wig bristling with feathers and pearls. She holds a cake crowned with a perfect cherry: part offering, part mockery. Behind her, chaos brews in Bruegel’s “The Fight Between Carnival and Lent,” where poor peasants and fools intertwine in discord. They are the backdrop, the forgotten chorus of struggle behind the velvet curtains of privilege. But it is not the history we are witnessing. It is a theater! The lush satin drapes do not conceal opulence — they frame denial. The cake is no gesture of compassion; it is a symbol of an echo of hollow promises, past and present. -Yana Slutskaya @artstudio.ys
25x37;
Fine Art Photography;
2025
In this self-portrait, opulence meets oblivion. A regal woman resembling the likeness of Marie Antoinette commands the foreground, her powdered wig bristling with feathers and pearls. She holds a cake crowned with a perfect cherry: part offering, part mockery. Behind her, chaos brews in Bruegel’s “The Fight Between Carnival and Lent,” where poor peasants and fools intertwine in discord. They are the backdrop, the forgotten chorus of struggle behind the velvet curtains of privilege. But it is not the history we are witnessing. It is a theater! The lush satin drapes do not conceal opulence — they frame denial. The cake is no gesture of compassion; it is a symbol of an echo of hollow promises, past and present. -Yana Slutskaya @artstudio.ys
