The work explores the phenomenon of barred window in former Soviet territories that is characterized by two distinctive features: abundance of bared windows and great diversity of grill patterns. This reveals a symptomatic nature of this phenomenon, which can be seen as a form of manifestation of trauma in the lived space.
Such trivial form as window grill – the ubiquitous, ornamented man-made barrier – becomes an effective metaphor to address and try to deconstruct the dialectic of inside and outside, as well as the conflict between private and public, which is especially characteristic of post-Soviet states that in different times have gone through shocks of collectivization and privatization.
Borrowing Derridean analogy of text and textile, I use embroidery as a way of reading the window grill and simultaneously (re-)writing it. At the same time, the nature of the process of embroidery as repetitive piercing of fabric, enables me to use it as a method that mimics symptomology of trauma, which reveals itself in repetitive symptoms 'piercing' through the seeming wholeness of the conscious mind. In such way, embroidery becomes my gesture of mimetic mourning that helps to distance, to overcome the past.