Original artwork description:

ABOUT THE ARTWORK
"Warm My Feet, Darling" from the "Perichoresis" series explores themes of strength, trust, and deep connection, where power and care intertwine to create a harmonious unity. The painting examines how true power is not about submission but about the ability to provide support, protection, and a space for vulnerability without fear.
Here, dependence is not portrayed as weakness but as a conscious choice to trust another. Care becomes an act of power, not through control, but as an expression of responsibility and devotion. This is a story of love that is quiet yet unshakable, where strength does not need to be asserted but is revealed through the ability to offer warmth and security.
The work serves as a reminder that trust is the highest form of intimacy and that embracing one’s role in a relationship does not limit but rather liberates. Power here is not the right to command but the ability to create a space where one can be fully themselves, knowing they will be held and kept warm.


PERICHORESIS SERIES
“Perichoresis” (ancient Greek περιχώρησις - “interpenetration”), a theological term meaning the mutual penetration of divine parts into each other, to describe a unique union that does not imply mixing or merging, but emphasizes an indivisible unity.
Daria explores the theme of new sexuality, deliberately choosing a term from theological treatises for her series of works.
With this gesture, she protests against the dictates of religion, the church’s manipulation and pessimization of human sexual manifestations and physicality, the false meanings and concepts with which religions have burdened, and instead of building true connections and bridges for man and God, they build walls.
“Perichoresis” for her is a beautiful and complex term that describes the fusion of the divine and the material. Having grown up in the Protestant tradition within an Orthodox society, Daria notes the common separation of sexuality from divinity in all these religions, while she sees sexuality as the clearest manifestation of divinity, beauty, and sublimity.
The artist notes that Christian culture has invested the image of the female body with a narrative of pornographic tension, while at the same time presenting paradise before the Fall as a sexual paradise, the Garden of earthly pleasures. For the artist, sexual paradise is a safe environment, complete trust, acceptance, the opportunity to open up and discover the Other, the opportunity to learn to be loved and to love.
Love is an environment where merging does not dissolve in another person, but on the contrary, strengthens the individuality of each and enriches each other.
Thus, the artist reminds that the division into the sublime and the low in love is artificial, and overcoming this division can make life more beautiful. The heroes of her paintings are immersed in the enigmatic space of love, and sometimes there are ironic scenes that balance the degree of sublimity.

Materials used:

Acrylic

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