The front side of the paintings emphasizes the traditional form of the "Malyavanka", symbolizing an invisible, often female, nameless and low-paid type of labor. It is also one of the few ways of expressing political imagination for residents of rural Belarusian villages who did not leave memories in the form of diaries or books. This simultaneous change of form and the constant preservation of contradictions are characteristic features of Marina Naprushkina's work. For example, the herbs depicted in the malavankas have healing properties, but can also be poisonous and harmful.

The back of the painting is decorated with lines from Belarusian folk songs. These songs were sung by women during the 2020 protests. They are not heroic songs, but rather woven into everyday care practices, such as the lyrics from the song "Kalykhanka" (lullaby). Here, the use of folk songs seems like a practice of decolonization, not only because it confronts modern forms of knowledge, but also because it breaks down the opposition between humans and nature in the face of violence.