The body of work in the solo presentation called “Wings for flying to the ancestor stars” is drawing on the Chuvash belief that ancestors inhabit the night sky, forming a constellation of memory and guidance,“Wings for flying to the ancestor stars” contrasts this worldview with the narratives imposed during the Soviet era, when Chuvash identity was reframed through the rhetoric of space conquest. Growing up surrounded by “rocket” playgrounds and the legacy of a local cosmonaut, Polina once imagined herself flying into outer space. Today, she reinterprets that childhood impulse as a path toward cultural return rather than escape.

In this regard, the booth is conceived as an environment where textile, sculpture, and image converge to form a constellation of ancestral presence; an architecture of memory that hovers between the earthly and the celestial. Osipova’s technique of transferring images onto fabric, combined with hand-sewn forms created without patterns or sketches, reflects her intuitive approach to storytelling. She works through inherited knowledge from her female ancestors, using craft as a pathway to recover narratives that were muted or forgotten.

For Polina, each object operates simultaneously as sculpture and garment, later activated through self-portraiture that situates the work within a contemporary digital mythology. Techniques often associated with domestic labor like embroidery, cutting, dyeing and sewing are reclaimed as tools for articulating Indigenous history, speculative futures, and the intimate ties between body, material, and memory.

With this presentation, JO-HS highlights an artist who expands the language of contemporary sculpture while honoring the cultural resilience embedded in Chuvash traditions. Osipova’s work invites viewers to consider how myth, materiality, and family archives can create new cosmologies and dialogues.