How to work with memory in a state of absence? How can memory transform in isolation, and is its autonomy possible? How to preserve memory given that it may become the only carrier of the disappeared? 

Through the reproduction of decorative ornamental panels of stone embroidery from the now occupied Nova Kakhovka, the author considers this process as a way of remembering and preserving — accurate, but at the same time descriptive, which only further highlights the distance and inaccessibility of the original. The inaccuracies of the carving, which is done by hand from memory, become an important part, indicating probable losses, distance and incompleteness of knowledge. Using the ‘flickering’ effect of the relief, the project works with the peculiarity of memory to erase or replace details and elements, where parts of the panel become inaccessible to detailed contemplation. 

Here, the author emphasises both the importance of preserving the original and the technique of execution. Her work is only a copy, which points to the very necessity of preservation and testifies that memory is only possible in the presence, even if it is conditional or fragmentary. Memory lasts as long as it is accessed, cared for and preserved.