SUCK

SUCK is an exhibition produced under conditions of bodily interruption.
During its preparation, Parasková repeatedly moved between the studio and home to breastfeed her three-month-old child, structuring the work through cycles of extraction, return, and resumed production.
The title SUCK names both a physical act and a systemic condition: the continuous drawing of energy, time, and attention from the body. Large-scale paintings occupy the expansive exhibition space, amplifying exhaustion rather than spectacle.
Fragmented and disassembled Disney figures appear as unstable bodies, stripped of narrative coherence and reinserted into new social and productive systems.
These figures carry human traits and gestures, staging recurring conflicts embedded in contemporary structures of labor, care, and survival. By collapsing domestic and artistic time into a single production loop, SUCK exposes exhaustion not as a private experience, but as a structural reality.