In When All Is Still Monosov points to the relationship between Soviet monuments and the nexus of nuclear weapons, connecting these systems of control to contemporary warfare. Through opposition, the cement and glass create a visual poem of man-made ideas which could, and did, bring darkness to humanity. Socialist Realism played a role in shaping public perception within the Soviet Union, producing official accounts starkly different from the lived experiences of those affected. Today, the role of nuclear weapons as potential catalyst for unprecedented devastation looms large, adding an extra layer of urgency to these artistic narratives.

The accompanying two-channel video work fast forwards us into a post-nuclear future. A character plays the artist, the creator, who tirelessly carries the heavy cement sculptures, but breaks them at will, stepping out of the suspended disbelief demanded by these objects. She breaks them for artistic freedom, which was, and today still is, robbed from artists by oppressive governments. She breaks the whitewashed representation of a much darker reality. While this rebellion is taking place, on a second screen, where the objects lie broken and still, they offer a backdrop, a landscape, for the endurance of one of the few creatures which could survive a nuclear disaster.

In When All Is Still Monosov points to the relationship between Soviet monuments and the nexus of nuclear weapons, connecting these systems of control to contemporary warfare. Through opposition, the cement and glass create a visual poem of man-made ideas which could, and did, bring darkness to humanity. Socialist Realism played a role in shaping public perception within the Soviet Union, producing official accounts starkly different from the lived experiences of those affected. Today, the role of nuclear weapons as potential catalyst for unprecedented devastation looms large, adding an extra layer of urgency to these artistic narratives.

The accompanying two-channel video work fast forwards us into a post-nuclear future. A character plays the artist, the creator, who tirelessly carries the heavy cement sculptures, but breaks them at will, stepping out of the suspended disbelief demanded by these objects. She breaks them for artistic freedom, which was, and today still is, robbed from artists by oppressive governments. She breaks the whitewashed representation of a much darker reality. While this rebellion is taking place, on a second screen, where the objects lie broken and still, they offer a backdrop, a landscape, for the endurance of one of the few creatures which could survive a nuclear disaster.