Snezhana Khozhieva

Year of birth: 1982.
Your discipline: textural conceptualism.
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Your background combines influences from both Islam and Orthodox Christianity. How has this interfaith experience shaped your artistic vision?  

I grew up in an interfaith family—my mother was Orthodox, and my father was a secular Muslim. As a child, I often heard stories from my father about his family, our roots, and the origins of his lineage. Through these stories, he passed down his values, love, and respect for family culture, along with a sense of personal responsibility to know one’s roots. I learned to respect family traditions and the hierarchy within the family.  

I became familiar with the Orthodox branch of the family history later, as an adult. I asked my mother about her childhood and compiled the genealogy of her lineage, which became a fascinating activity for me. Of course, neither religion is perfect, and at times my parents’ demands contradicted each other. As I grew up, I sought a comfortable existence between the religions that “chose” me.  

On one hand, I cherish the history, genealogy, and culture of my lineage; on the other, I gradually chose freedom from stereotypes. I traveled extensively and absorbed the cultures of various Asian and African countries, which significantly influenced me as an artist. I believe my paintings convey a multicultural code and an earthy connection, inviting viewers to feel grounded and connected to their roots, and, more broadly, to the primal structure—the “beginning of beginnings”—while addressing contemporary issues.

Snezhana Khozhieva | Supercontrol | 2023

You describe your work as rooted in “ethnic painting and abstract art” with a focus on “textural conceptualism.” Could you explain how you approach texture in your art and why it is significant to your expression?  

Texture in art is not just a visual element—it is a powerful way to convey information and create emotional context. The tactile qualities of a piece can shift the viewer’s perception, opening new horizons of interaction with the artwork. One of the unique aspects of texture in art is its ability to engage the audience.  

My works are designed for viewers to interact with them not only visually but also physically, by feeling the textures. Each texture carries an emotional load. For example, rough textures can evoke feelings of heaviness or negative energy, while smooth and polished surfaces bring a sense of calm and tranquility. These reactions stem from our instinctive responses to tactile sensations.  

Research shows that our brains process information about texture faster than they process color or shape. This suggests that texture can directly influence our perceptions and emotional states.

The series “From Primitiveness to Primitiveness” explores a return to nature and primitive origins. What inspired this exploration, and how do you feel the modern world contrasts with the primordial elements you depict?  

Modern people increasingly seek control over everything: “Control yourself,” “Control what you say,” “You are what you eat,” “You are what you focus on,” “Control your thoughts, emotions, and mind,” “Live in the moment.” All these calls distance us further from the randomness of nature and our primal essence.  

Such messages are often interpreted as demands to live only in the present. By doing so, we seem to cut off a significant part of ourselves—our past and our roots. We become prisoners of excessive control and “touristification,” a concept described by Nassim Nicholas Taleb in his book *Antifragile: Things That Gain from Disorder*, which inspired this series.  

Taleb writes: “Those living under the illusion of control are fragile… Our age strives to extract variability and randomness from life.” He calls touristification the attempt to make reality predictable down to the smallest detail, systematically eliminating randomness and uncertainty for comfort and efficiency.  

Returning to the vector of randomness in life leads to reconnecting with our primal essence and nature—the only system marked “invulnerable” by time.

Snezhana Khozhieva | Rondavel | 2020

In your work, you often reflect on the genealogical history and the concept of “ancestral strength.” How do these themes manifest in your compositions, and what do you hope viewers take away from them?  

These themes are mostly reflected in the color schemes of my paintings. If I could paint solely with earth, I would. In fact, I sometimes use earth and other natural materials in my artwork.  

I believe that no one exists in isolation. Behind each person stands the women and men of their lineage, who can protect, warn, or guide them. They are a part of you, and you are a part of their strength. For me, this connection is a resource.  

There’s a phrase, “family tree,” where the tree symbolizes lineage and roots, young shoots growing into significant branches over time. Have you ever seen hundred-year-old oaks? They exude wisdom and strength. Imagine trees that are thousands of years old—how much they’ve witnessed!  

Viewers often tell me my paintings feel like the cross-section of an ancient tree—something they want to touch to draw strength for their lineage.

Your piece “Circle of Consciousness” reflects a search for order in a chaotic world. Could you elaborate on this idea and how your personal experiences influenced this creation?  

This painting was created during a challenging period in 2021—the pandemic. The familiar world around us was collapsing. It seems like a cliché to say now, but that time left deep scars.  

I lost my mother, the closest person to me. Clinging to structure became my way of staying afloat. I wanted to rid myself of the sense of chaos, to create an illusion of control. Over time, I elevated order to a pedestal, excluding randomness from life.  

This painting was a meditative dive into structure—a search for order and foundation.

Snezhana Khozhieva | Circle of Consciousness | 2021

The concept of control and its fragility is central in your piece “Supercontrol.” How do you balance control and spontaneity in your art practice, and how does this relate to your own philosophy of life?  

The painting *Supercontrol* reflects the concept of control. I wanted to show that over-controlling one’s life leads to a dead end. Life dies when there’s no “air,” no room for spontaneity.  

The process of creating the piece was meticulous and meditative, reminiscent of the repetitive relaxation women experience when knitting. In life, however, such control can stifle. Women who overcontrol their lives—consciously or unconsciously taking on the role of God—suffer. I know this because I am one of them.  

Now, I try to allow for randomness and less “touristification.”

You have traveled extensively, including to Africa, which you describe as a “cradle of humanity.” How have your travels influenced your artistic style and subject matter?  

The words of writer Tess Gerritsen resonate deeply with me: “We all come from there. A part of you, an ancient memory in your brain, recognizes this continent as home.”  

My solo journey through several African countries sparked irreversible changes in my soul. The trust in fate, life, and Providence I felt during that trip was magical.  

If I could paint with the winds of the savanna, the sunrise over the Serengeti, or the dusty whirlwinds, I would. If I could weave the songs of the Maasai or the click of cicadas into my paintings, I would. But I am not a god—I do what I can.

Snezhana Khozhieva | Return to | 2024