This project emerged at the intersection of photography, painting, and human individuality. At its center are the artist’s body marked by vitiligo and the studio space filled with paintings. During the photographic process, photographer Yulia Potatueva sought visual correspondences between the patterns of vitiligo and the fields of color within the artworks, creating a dialogue between two forms of abstraction — one shaped by nature, the other by the human hand. Vitiligo is often viewed through a medical lens, as a condition or a deviation from the norm. This project proposes a different perspective. The marks on the skin become an autonomous visual language: a unique composition that cannot be replicated and was not created by any artist. In this sense, vitiligo appears as a form of unmade art, existing at the boundary between nature and image.

This photograph captures the powerful journey from the isolation of stigma to the strength found in community. Created in collaboration with Spartan Photography Kenya and featuring models Lorna and Phelix, the piece uses intertwining hands as a protective shield of solidarity to highlight and honor the skin's natural tapestry. Paired with a direct, confident gaze, the work celebrates collective human connection, visibility, and shared resilience within the vitiligo community.

Between Skin and Self is an intimate exploration of the relationship between the body we carry and the identity we create beyond it. Emerging from my personal experience of living with vitiligo, the installation moves beyond the idea of a skin condition. It questions how society reads bodies, how appearances become identities, and how an individual exists between being seen and being truly understood. The outer surface of the structure carries organic marks inspired by the transformation of skin, representing the visible layer through which the world often recognises and defines us. It reflects the constant negotiation between the external gaze and the inner self. As viewers enter the enclosed space, they move away from the outside world into a quieter internal landscape. Inside, a formation of clouds becomes a symbolic extension of the body and mind. These clouds connect the dots of the entire experience, representing memories, emotions and identities that are constantly shifting, just like the patterns created on our skin. The clouds act as a bridge between the physical and the invisible. They suggest that human identity is not a fixed surface, but an evolving presence shaped by experiences, thoughts and acceptance. The installation does not present vitiligo as absence or imperfection. Instead, it transforms difference into a visual language of growth, vulnerability and individuality.

I simply want to tell a story - big, passionate, strange, funny, rich, imaginary, grotesque, like life itself. A story full of beauty and contradictions. I don't think about genre or plot construction; I just write. The body is an important part of my stories. Experience is recorded within it. Despite the presence of violence, fear, pain, and disappointment in life, my works are vibrant, sensual, and life-affirming. There is humor, there is irony. Because beauty is in the everyday, in all its manifestations. A path above the abundance of roads. Beauty is something that doesn't need to be explained. Painting should be free. It shouldn't directly serve ideology or morality. But it can help us better understand the world, especially those parts of it that usually remain hidden.

"The Hands That Understand" portrays the relationship between a dermatologist and a patient living with vitiligo. Drawing from my experience as a dermatologist, this artwork reflects the understanding that caring for patients extends beyond diagnosing and treating skin conditions. It is also about listening, building trust, and supporting individuals through their journey toward self-acceptance.

Beyond Reflection explores the experience of seeing oneself beyond visible skin changes. Inspired by a personal experience with vitiligo, the artwork presents two reflections: one shaped by depigmentation and another representing memories of the past. Rather than choosing one over the other, the work emphasizes that identity, values, and self-worth remain unchanged despite physical transformation. It draws inspiration from the Javanese teachings “Ojo ketungkul marang kalungguhan, kadonyan, lan kasampurnan” (do not be consumed by status, possessions, or the pursuit of perfection) and “Sepi ing pamrih, rame ing gawe” (focus on meaningful actions rather than appearances or recognition). The artwork reminds viewers that a person is more than what is visible, and that the truest reflection often lies beyond the skin.

This artwork celebrates the beauty and confidence of individuals living with vitiligo. It portrays a woman breaking free from societal judgments and insecurities, symbolized by the open cage. Instead of hiding, she proudly embraces her skin. Her majestic wings and joyful expression show that true freedom comes from absolute self-acceptance.

Our parents and grandparents are our first role models, no matter how special or unique they are. This artwork captures that exact bond of love and emulation. It depicts grandchildren playing with their grandmother, who has vitiligo. In a beautiful act of solidarity and innocent play, the children painted their own skin white, mimicking their grandmother’s unique skin patterns. The creative process was completely spontaneous, driven by the children's pure perception of beauty. Instead of seeing vitiligo as a difference, they saw it as a reason to connect. Through this artwork, I wanted to show that love knows no boundaries and that beauty is passed down through generations in the most unexpected, beautiful ways.