The Body Remembers Everything: An Exploration of the Archetypes of Bodily Memory

Project The project explores the body as a universal archive storing traces of psychological experience. Through the creation of tactile objects and immersive installations, I translate trauma theory into the realm of visual and spatial images, establishing a direct, preverbal dialogue with bodily memory. 

The interactivity of the objects—the possibility of their tactile exploration—allows the viewer’s body to enter into direct contact with its own memories, where materials become metaphors for therapeutic processes. The exhibition is structured as a single environment, guiding through three key states: from dissociation in the Archive zone, through dialogue in the Laboratory, to integration in the Perceptual Field. This journey culminates in the restoration of integrity, where the boundaries between the internal and the external are erased. 

The Body Remembers Everything creates conditions for safe living and transformation of trauma. Art becomes a tool for restoration, where the viewer physically experiences reconnection with their own body, integrating this experience into their personal history. 

The project is in development. Not all works are on display.

 The project will be presented in August 2026 at the Na Kashirke Gallery in Moscow.

A series of objects, “I WILL HUG MY PAST” 

This work explores the mechanism of tactile integration of trauma—how physical interaction with metaphorical “fossils” of memory through soft, delicate materials (a diaper, flowers) can transform them from alien elements into accepted parts of personal history. This is an exploration of the translation of traumatic experience from the state of an alienated object to a state of integrated memory through the language of materiality and gesture.

“SOMA” 

“Soma, ” part of the installation “Archipelago of Becoming” by the art group SO.8. 2025, ceramics, 17×17×20 cm
 “Soma” is a cast of that liminal state where the body pauses between two of its statements. Its form captures not the result, but the process itself: that moment when defenses lose their rigidity but have not yet become open.

 It was born from observations of how experience changes the bodily landscape. The rough, “armored” side is not armor, but the imprint of tension ingrained into the structure. The smooth, cup-shaped part is not an ideal, but an emerging possibility, a space ready to receive air, a gaze, silence. 

 There is no “before and after” here. There is a bodily geology—a layered memory of the material, where every tension has left a relief, and every opening has become a polished surface, shaped by the breath itself. “Soma” doesn’t ask what the body is. It asks: what does the body remember with its hands? It’s about how experiences aren’t simply stored within us, but transformed into texture: rough or smooth, prickly or receptive. It’s about how healing isn’t erasing scars, but changing their status: from wound to relief, from shell to cup. 

 If bodily memory had a physical cast, this is what it would look like. Not a diagnosis, not a metaphor. But direct evidence: this is how material behaves when simultaneously compressed and released. This is what remains on the surface while the slow work of transforming heaviness into a receptacle takes place within.

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 “Soma” is an actor of internal transition in the installation “Archipelago of Becoming” by the art group SO.8. It embodies that threshold state that precedes any external connection. 

 “Archipelago of Becoming” is comprised of eight ceramic actors. Each of them—from “Soma” to “Alchemist"—materializes its own philosophy of existence: corporeality, order, organicity, narrative, otherness, collectivity, potential, transformation. Their connections are not fixed—they live in constant reassembly. 

The composition changes under the influence of the entire network of actors: the artists, the ceramic forms, light, time, chance. Thus emerges chronicles of collective dynamics, where the capacity to act is distributed among all elements of the system. 

 We create not sculptures, but a living network of relationships, where everything has a voice and influence. This is our philosophical foundation.

A series of cyanotype X-ray prints “THE BODY REMEMBERS EVERYTHING”

This series is a visual exploration of how traumatic experiences are embodied in the body. It draws on the work of Bessel van der Kolk, who demonstrates that trauma exists not only in the psyche but also in bodily reactions, muscle tension, and altered perception. 

I call my method somatic archeology. Through X-rays and cyanotype printing, I visualize hidden memory structures. The process resembles an imprint—the unspoken is imprinted into the body’s structure. Tactile materials—threads, natural elements, plastic—become analogs for neural connections and psychosomatic blocks. The project exists at the intersection of somaesthetics and the visual study of trauma. This is not a depiction of pain, but its material evidence. The works create a space for empathic dialogue, allowing the viewer to encounter experiences that often remain invisible but continue to live within the body. 

“The Body Remembers Everything” is a conversation about resilience through the lens of bodily memory. It explores how the body becomes an archive of personal history, and how art becomes a bridge between memory and the possibility of integrating it into a holistic experience of self.

Explore the series

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