For year and a half, I rented a studio in a building in Dresden built during the German Democratic Republic (GDR) era, where my attention was drawn to a peculiar conflict between images of phalluses and swastikas. This graffiti regulary appeared in the building's elevator, only to be washed away or painted over before inevitably reappearing. This recurring country that had welcomed me. That's how I learned about the "Alternative for Germany" (AfG) party, the Reichsburger conspiracy, and the upcoming events.

As I continued to observe the elevator graffiti, its contents became increasingly radical. One of these radical drawings became part of my series titled Questions of Understanding, Faith, and Love, which explores themes of migration, repression, and war. I am particulary interested in the channels of people's consciousness. One such channel is controlled nostalgia. This is especially evident in both Belarus and Germany, where nostalgia serves as an effective tool for political manipulation tied to the idea of a "great past". This line of thought led me to the image of the birch tree - a universal symbol of longing for the homeland in the post-Soviet space.