Menstrala began as a private discipline and became a public movement. Between 2000 and 2003, I created eighty‑eight menstrual‑blood paintings that revealed the body not as a biological mechanism, but as a field instrument — a magnetic, cyclical generator of form.

My work treats menstrual blood as a living medium, one that carries rhythm, charge, and memory. Each painting is a trace of the body’s toroidal field, shaped by breath, movement, and intention. The forms arise through choreography rather than illustration — a continuation of my early life as a ballerina, where the body was both the instrument and the message.

Menstrala reframes the menstrual cycle as a site of intelligence, not taboo. It restores the cycle to its cosmological dimension: a monthly aperture through which pattern, geometry, and emotional truth become visible. The paintings are not symbols of menstruation; they are imprints of coherence, created at the threshold between the internal and the external, the invisible and the seen.

My practice is rooted in the belief that art can correct cultural amnesia. Menstrala challenges the long‑standing erasure of menstrual experience by offering a visual language that is neither clinical nor politicized, but aesthetic, magnetic, and embodied. It invites viewers to encounter the menstrual cycle without euphemism — to see it as a source of beauty, structure, and cosmological resonance.

As the founder of the Menstrala movement, my role is to protect the integrity of this archive and to steward its evolution. The original works remain singular, unrepeatable field events. Their digital versions, exhibitions, and derivatives must honor the movement’s origin: the body as a generator of form, and menstrual blood as a medium of truth.

Menstrala is not merely an art series. It is a cultural correction, a reclamation of the body’s magnetic intelligence, and a reminder that creation begins with the cycle.