Series - FotoSlovo 2026 - Category « Experimental photography »

Not to her perfect plastic house, but to the market.

In this series, the iconic figure of the global beauty industry moves through spaces of everyday life: streets, bedrooms, market stalls, and concrete landscapes. Here she encounters meat, packaging, advertising, and commodities. The body no longer appears as an ideal, but as part of an economic circulation.

The market becomes a stage.

The body becomes a commodity.

Beauty becomes a platform.

“Barbie Returns Home” examines how consumption shapes identity. The figure of Barbie — a globally standardized model of beauty — encounters a reality in which bodies, flesh, and products follow the same logic: they are displayed, evaluated, and sold.

The series functions as a visual anthropology of consumption.

Pork, skin, cosmetics, and packaging appear within the same visual field. Flesh and skin mirror one another. Both become surface, material, commodity.

Pork hangs in the market.

Cosmetics promise perfect skin.

The female body appears between these two poles: as an object of observation, optimization, and circulation.

Within this economy, everything becomes material.

Flesh becomes merchandise.

Skin becomes a projection surface.

Cosmetics become technologies of visibility.

The works use irony to reveal a form of beauty religion. In this cosmetic theology, the body is not redeemed but constantly modified. Beauty functions like a contemporary ritual: it demands sacrifice, discipline, and continuous presentation.

The market thus becomes a stage for the production of identity. Consumption operates as a social platform where bodies, products, and images compete for attention.

“Home” does not appear as a place of return, but as a system: a space where global images of beauty, local economies, and personal experiences of migration intersect.

Barbie does not simply return home.

She discovers that she has long been part of the market.