a bank of images from which she later creates studied visual texts. Each of the projects in this book begins with these sketches, since the evolution of all the works can be traced back to the starting point of their conception – a small sketch in one of the artist’s innumerable notebooks. 

Yet by calling her drawings “flomorealism,” Kadyrova is not drawing on realism as an artistic method in its classical understanding, based on certain rules of linear perspective and verisimilitude through color illusions. The sketches often depict the realities of life, gradually disappearing into nonexistence: local cafes already passed into oblivion; village landscapes caught from a train window, unlikely to be found again; portraits of friends, some of whom are no longer with us. Flomorealism – as the imprint of life’s passing moments – is an archive of already nonexistent reality with its elusive beauty; it is no longer available in its entirety, but it can still be remembered by looking at the kaleidoscopic fragments of actuality captured by the artist.