Boneca Russa #01

A escultura Boneca Russa #01 trás uma narrativa da própria artista, nos seus 8 anos de idade: "quando criança, participei de um espetáculo de ballet o qual o tema era uma fábrica de brinquedos. Estava vestida de boneca de louça e entraria no palco logo depois das bonecas russas. A coreografia delas era bem rítmica e exigia bater constantemente com o quadrado da sapatilha de ponta no chão. Eram muitas nessa turma, mas havia uma principal, uma bailarina mais velha que todas ali que era como uma principal para aquela coreografia. Logo nos primeiros passos, percebi na coxia que a moça estava tensa, tinha todos os seus músculos enrijecidos, até mesmo os do rosto, mas não parou de dançar por nenhum segundo. No fim, voltando para a coxia, caiu em lágrimas e tirou a sapatilha de ponta as pressas, dentro dela haviam vários cacos de vidro".

Em suma, a obra faz referência tanto aos cacos (com os cacos de vidro) quanto à bailarina (com o cetim rosa, usado para amarrar a sapatilha de ponta).

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The sculpture Boneca Russa #01 (Russian Doll #01)  traces a narrative by the artist herself, when she was 8 years old: "as a child, I participated in a ballet show whose theme was a toy factory. I was dressed as a china doll and would enter the stage soon after Russian dolls. Their choreography was very rhythmic and required constantly hitting the square of the pointe shoe on the floor. There were many in this class, but there was one principal, an older dancer there who was like a principal for that choreography. Right in the first steps, I noticed in the aisle that the girl was tense, had all her muscles tense, even those of her face, but she didn't stop dancing for a second. In the end, returning to the aisle, she burst into tears and took off pointe shoes in a hurry, inside there were several pieces of glass".

In short, the work makes reference to both the broken pieces (with the broken glass) and the ballerina (with the pink satin, used to tie the pointe shoe).