Suleimenova, initially exploring post-colonial identity in her series 'Kazakh Chronicle' and 'I'm Kazakh,' has been vocalizing her ideas through public talks and articles. In her recent artistic endeavor, 'Cellophane Painting,' Suleimenova addresses the issue of plastic pollution on the Kazakh steppe, advocating for the collection and cleanup of used plastics.

In a departure from traditional artistic materials, she extends her 'Kazakh Chronicle' series using colored plastic bag. Hernew monumental artwork, 'Yellow Blue Bus,' is created exclusively using cellophane painting and consists entirely of plastic bags, some of which were generously donated by Almaty residents. The creation does not attempt to address the climate crisis, as using art alone to tackle such a complex issue is impossible. Instead, it seeks to discover the poetic potential within plastic bags and redefine the aesthetics of a world where nature extends beyond trees and birds. It represents a form of painting that exists without traditional tools such as canvas, brushes, acrylics, or oil paints.

This artwork narrates the story of the city's intricate web, its inhabitants, bus routes, and the love that permeates it all. The title also carries a subtle nod, indicating that the artist dedicates it to both Kazakhstan and Ukraine

Recent exhibitions feature a solo showcase titled 'Between the Past and the Future' at the National Museum of the Republic of Kazakhstan in 2017, 'Archeology of Actuality' at the Kasteev State Museum of Arts in 2011, and 'Between Heaven and Earth' at the Calvert-22 Foundation in London, also in 2011.During the 1980s and 1990s, the artist created approximately 20 works of 'paper architecture' – delicate objects crafted from fragile materials, offering unique perspectives on the material world by breaking it down into its elemental components An attempt to look into the very essence of matter and understand what the quantum world consists of raises a very important question about the “authenticity” of nature. In this case, the thesis that man destroys the environment begins to seem illusory.

After all, the nature we strive to safeguard might be viewed as a simplified representation of a far more intricate reality, shaped by our consciousness. However, what practical purpose would this realization serve if we fail to preserve the very medium through which we grasp the intricacies of the quantum world?

The pair engages deeply with the environment they live in, examining its socio-cultural underlining, using a light and humorous approach.

The artwork consists of a series of photographs of natural landscapes. Specifically for these photos, the artists wrote the word 'Anthropocene' at different times of the year: in winter, it was formed in shapeless accumulations of ice on a lake, and in summer, it was written on the shifting sands of the desert.

(This inscription, made with organic paints, disappeared after some time, leaving only the photographs behind.) This action appears both as an artistic and a social act. After all, people have been marking their territory on natural objects for a long time. This playful work about very serious matters reminds us that our time on this planet is not eternal and that we are fortunate to live in this short geological moment. The artists themselves ironically describe their work as follows:

"What can be said about a text written in sand or on ice? Only that the wind will blow it away with grains of sand in a couple of minutes after writ- ing, or it will melt along with the ice under the rays of the spring sun.

Here is humankind, Homo Sapiens the irrational, imagining its anthropocentrism in the midst of the boundless universe. But nature is not a resort hotel with all-inclusive services; it is both creator and executor of itself. It doesn't matter whether humans exist within its body or if this parasite with all its civilization has disappeared. Without it, everything somehow existed, neither good nor bad - there were stars and galaxies, volcanoes and geysers. It was noisy and fun, but there was no one to appreciate the party back then…

Now it's a different story - the Holocene is over, the Anthropocene has arrived, and the assessors have come to set the prices for the existence of our primate species. We ate, we drank, we celebrated, and then we counted - and we shed tears.

What can be said for consolation... Dear fellow humans, do not exaggerate your greatness, but do not despair either - 'the traces of our activity will not disappear anywhere, at least for the next few million years,' they write on the internet.

You too will remain a thin, smeared layer in the thick pie of geological epochs.

But who will appreciate its taste when the Anthropocene passes?.."

The choice of this plant is not random, as it illustrates Goethe's lines on one hand and references the blue spruce as a symbol of the Alatau foothills of Kazakhstan, where this unique natural object thrives in abundance, on the other.

Around the trunk and crown (without harming the tree), a construction made of stainless steel will be placed. It will simulate the crystalline lattice of the chemical formula of cellulose, creating symbolic protection for the tree from intrusion and "encroachments" on its life and integrity.

An important conceptual and meaningful accent explaining the title of the work is a quote from Johann Wolfgang von Goethe: "All theory is gray, my friend. But forever green is the tree of life" This statement (in four languages - German, Kazakh, English, and Russian) is intended to be placed on a four-sided granite base surrounding the tree.The diagonal and horizontal lines, points of junction and intersection in a strictly defined sequence, are based on strict logic and precise mathematical calculation.

His use of ethnographic signs is heavily influenced by recollections of the Russian avant-garde and Post-Soviet realities, along with an intimate and often touching analysis of his condition as a contemporary artist.

While acutely aware of the attractiveness of the exoticism associated with iconographical stereotypes of Central Asian art, he often refers to them with a touch of irony.

Notable recent exhibitions include Suns and Neons above Kazakhstan at the Yarat in Baku (2017), The Other & Me at the Sharjah Art Museum (2014), the 5th Moscow Biennale (2013), Central Asia Pavilion at the Venice Biennale (2011, 2007, 2005), Ostalgia at the New Museum in New York (2011), Time of the Storytellers at the KIASMA in Helsinki (2007), 9th Istanbul Biennale (2005). Shymkent artist Said Atabekov creates the artwork 'Traces of Angels.'In the steppe, this term referred to the imprints of hooves with horseshoes on wet soil, later baked by the sun.

A similar 'freezing' of something ephemeral and transforming it into sculpture in some sense brings a piece of the steppe directly into the city. It is important to note that the work is made of iron and bronze – materials often used for significant monuments that mark the ideological direction of a particular country. In our case, this monument is installed right in the steppe itself; for the horses that gallop across it; for the hoofprints that may not last long but always reappear.

Nature, and more specifically flowers, a vital component of our planet's life cycle, becomes animated with an aesthetic and colorful soul - a giant hybrid stands before us

Be- tween the human, composed of limbs and inhabited eyes, and the realm of fantasy, a digital floral collage, emerges on our screens - a sense of intimacy blooms, and a pro- found connection is forged. We then bear witness to the relationship between humankind and nature, almost as if to remind us that nature, often perceived as in-animated, is in reality alive in its entirety.

Moffatt astutely re-centers our discourse, orchestrating a dance of size and imagination around a pivotal theme: the enduring interdependence of humanity with nature, its surroundings, and its elements - an invitation to awaken from this lethargy, a challenge to the ceaseless control and domination we exert over nature.

Moffatt's work is undeniably infused with optimism, being part of the series "Flowers for Suzanne Claire" - the artist draws inspiration from a science fiction novel "The Crystal World" where the secondary character, a woman named Suzanne Claire, witnesses the disastrous change in our world, its impending end.

Unlike the main character, her male counterpart, Suzanne Claire views the world's transformation as an alternative to the known, as an unfamiliar opportunity for a novel existence.

The augmented reality installation is imbued with history, humanity, fantasy, and inevitably political undertones: the roles of the feminine and masculine, and our relationship with the environment. A virtual installation that raises contemporary questions that we must confront. And what if a portal finally enabled a drastic shift in our relationship with nature? Lauren Moffatt presents this proposition to you - the decision is yours to make.

Dyussenbina makes a study that brings her to the questions of the formation of an archetype and its introduction into the structure of the multicultural state of our times. To solve such a difficult problem, she chooses an exact medium - an area of applied design – the design of interiors, and objects of everyday life and embodies her ideas in several series. Artist Saule Dusenbina explores the place of myth and history in today's pop culture. In her visual vo- cabulary, batyrs peacefully coexist with flies, ram horns with logos of Italian fashion houses, traditional chapans with masterpieces of world art.

Moreover, the line between urban and natural also becomes blurred.It seems that in the soup of urban visual culture, identities are born anew every day, and as a result, it's difficult to determine the influence of one culture on another. For the ARTBAT FEST 11 festival, Dyussenbina creates the first mural in Kazakhstan made with neon elements. It can be seen both during the day and at night.