"For me the artwork of Kinder Album is significant, marking and accompanying the transition stage in the society, the stage of liberation from taboos and raise of new relationship standards.
Whereas artists often take nicknames to protect themselves, Kinder Album's nickname in that case protects her art from any labelling. As if her artworks belonged to everyone and while not being everyone’s voice, at least represented everyone’s knowledge. These artworks reveal hidden mundanity familiar to all of us. It has certain connection with the intimate life but also social life, even microsocial life, something that we call a relationship. What I see in the artwork of Kinder Album is hard to name her personal business, it’s literally impossible to do, because the paradox is that these “secrets” appeal to almost everyone. The ratio of what is acceptable and what is inappropriate, of fiction and reality in her works is so perfectly balanced that it leaves us no opportunity to speak of neither “wow effect” or elements of “scandal” or even “fantasy". It is likely to be closer to an anecdotal , almost paroemic life situation, a proverb with a moral at the end of the story that is up to the spectator to formulate.
From her first exhibition, she declared herself to be an artist inclined to projects and cycles. What is unusual is that being an extraordinary hard worker and demonstrating remarkable efficiency, she is free from any kind of self-repetition. Each of her works is the promise a new discovery. I see her artistic journey as a movement starting from provocation and primordial somehow childish frankness, to ethereal reflections, revelation of public opinion paradoxes, dissonant shapes, questions on the edge of secrecy and even mysteries."