The floral crown surrounding the figure’s head acts as both an adornment and a burden. Flowers, usually a sign of beauty and renewal, here seem to merge with the skin, blurring the line between person and nature, between life and decay. Their delicate blossoms are juxtaposed with the raw, fleshy realism of the hands, rendered in warm orange and pink tones that pulse with life. The dripping paint elongates this transition — as if time itself were sliding down the canvas, carrying away pieces of memory and self. Sigitova’s technique — layering classical figuration with contemporary street-art aesthetics — turns the painting into a visual dialogue between eras and emotional states.

The graffiti-like words “Still Life” and “Still Me”, splashed across the composition in vivid pink, serve as both title and declaration. They challenge the viewer to question what “still” means — is it stillness as in peace, or as in paralysis? Is “still life” a genre, or a condition of being trapped in continuity? The phrase “still me” transforms the traditional vanitas theme into an assertion of presence: even amidst decay, transformation, and erosion, the self endures. The dripping pink paint mimics both tears and defiance, suggesting that identity can weep and resist at once.

Ultimately, Sigitova’s work is a statement about persistence in a world that constantly reshapes and erases us. By merging the visual language of classical art with the bold immediacy of graffiti, she speaks to the tension between fragility and endurance that defines modern existence. “Still Life – Still Me” invites contemplation not of objects, but of being itself — suspended between the past and the present, between silence and the will to remain visible.

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