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Running with the wolves
The works presented here depict female figures drawn from Nordic and Slavic legends, folk beliefs, and mythic memory. These women appear as hybrids—human and animal, instinct and intellect—combinations that seem unnatural only because dominant cultural systems insist on separation. In these figures, contradiction is not a flaw but a state of truth.
The hybrid body becomes a site of resistance. It disrupts inherited structures that attempt to categorize women as pure or impure, virgin or slut, sacred or profane. Here, she is both. She refuses coherence within a system that has never been built for her complexity.
Drawing on the archetype of the Wild Woman—as articulated in Clarissa Pinkola Estés’ Running With the Wolves—the work aligns women with wolves: intuitive, relational, fiercely devoted, adaptive, and enduring. Like wolves, women have historically been misrepresented as dangerous, excessive, or deviant, their instincts something to be tamed, erased, or punished. The predation of the wild feminine—socially, politically, symbolically—mirrors the systematic extinction of instinctual knowledge.
These works examine female sexuality and pleasure from a female perspective, rejecting evolutionary and cultural narratives that normalize the male gaze while rendering female desire either invisible or obscene. What falls outside these norms is labeled erotic, provocative, or promiscuous—terms that function as tools of control rather than description.
Through a transdisciplinary approach, the artist critiques how nature, gender, and sexuality are objectified and naturalized to justify inequality. Pleasure, love, desire, and bodily autonomy are reclaimed not as spectacles, but as lived, instinctual forces. The female body is not an object to be decoded but a subject that knows.
In a world that demands women be everything at once—productive, desirable, contained, compliant—the Wild Woman resurfaces as a reminder of an older knowing. One that runs with wolves. One that does not ask permission.
