Watercolour miniature landscapes depicting semi/destroyed buildings in the eastern region of Ukraine, near the conflict zone. The materials for the landscapes were collected during the artist's travels across Luhansk and Donetsk regions from 2016 to 2019. However, it is almost impossible to recognise the destruction on such a scale. Due to this, landscapes look more lyrical rather than dramatic.

Pictures are exhibited in the frames, curtained with a fabric. This is how some Ukrainian art museums exhibit watercolours to protect the image from direct sunlight, which can lead to paint fading. This exposition approach binds the viewer to the picture: the viewer needs to raise the fabric in order to see it. To look at the picture from afar is impossible. You can examine the image only from a certain distance, at arm's length.

Concealing images not only hints at the limits of perception (vision) but also reveals the attempts to hide the image and the information they carry. Does the artist carefully preserve these landscapes, or does she hide them?