The course of all of practice and a complicated path as an artist, Maria Kulikovska constantly returns to architecture, the inevitable habits of designing and space-spatial thinking received for many years The study of the architecture of buildings and structures to make as sharp and difficult as you imagine The proper idea of the body, human, the female body in the public space.
The path of Mary as an architect, artist and performer began in the 90's on the coast of two seas — the Black and Azov, in the Crimea. She was born at the junction of epochs, when the state decided to start reorganization and move to capitalism and market relations. But it was different, and the country that Mary had never seen, but which the world saw, disappeared without having had time to get acquainted with it. Even since childhood, the secret "friends" of the mystery were the ruins of ancient settlements and settlements scattered throughout the territory of the native city of the artist Kerch.
Part of the impressions of her body after the start of the war on the Donbass remained in the Donetsk gallery "Isolation". The militants seized the gallery and used casts as targets for shooting. This has become a major shock for Kulikovska, which she reflected in the project for the Saatchi Gallery in London, where in 2015, being completely naked, a hammer hit her body. This helped the artist to live the pain caused by the annexation of her native Crimea and the subsequent war.
The ancient Greeks used the statues of female bodies, calling them caryatids to support the construction of the building, thus giving a fairly cruel and patriarchal connotation to a woman holding all of the weight and power of the building, holding on to their permanent cargo. All this was a reminder of the place in society of every real woman and her punishment. Observing the hard work of a woman, her indistinctness, lack of worthy recognition, caused the artist to grow up rebellion and the desire to change it through their own works.
At the exhibition are several tens of clicks of the body of Mary, which are made in co-authorship with Uleg Vinnichenko with paraffin, epoxy resin, soap and gypsum. All of them fix the transformations of the body of the artist. Self-esteem as women in modern Ukraine, the vulnerability of the female body and the inequality of the articles are the dominant motives of her works.