J.Kiryanova’s practice emerges from an early awareness of the body as a contested and regulated site. Growing up between differing cultural, social, and ideological frameworks, she encountered from a young age how bodies are classified, disciplined, and rendered legible through language, ritual, and spatial order. These formative experiences continue to inform her sustained inquiry into how identity, power, and belief systems are materially produced.

J.Kiryanova established in Europe independently in 2011. This experience of displacement has become a lasting foundation of her artistic research. Her work repeatedly returns to questions of identity, the body, and existence, shaped by an ongoing search for belonging and the idea of home. Through material, narrative, and embodied processes, she explores how personal history intersects with collective memory, and how spaces of meaning can be constructed in response to instability and transition.

Working primarily with painting and tapestries, Kiryanova treats surface as a spatial and conceptual structure rather than a static image. Large-scale floor paintings, circular compositions, and suspended tapestries operate as environments that the viewer enters rather than observes. These forms resist hierarchy and fixed orientation, proposing instead a non-linear experience in which excess, repetition, and multiplicity replace singular meaning.

The body enters her work not as representation but as a spatial agent. Through temporary activations, moving bodies trace, interrupt, or extend the logic of the painted and woven structures. These moments do not function as performance in a theatrical sense, but as embodied research—testing how form behaves when encountered, inhabited, or destabilized by presence.

Across her ongoing research On Excess and Form — Bodies without permission, Kiryanova examines dissident embodiments that refuse binary categorization and normative models of identity. Her work considers the body as both a site of control and a potential site of refusal, transformation, and collective re-imagination. Rather than proposing fixed narratives, her installations create conditions in which perception, orientation, and relation remain open—inviting viewers to encounter form, material, and body as mutable and unresolved.