the red woman
In 2008, Yelena was struck by the global escalation of fear and suspicion of suicide bombers in the aftermath of the War on Terror following 9/11. She saw in this climate of paranoia a parallel to the medieval hysteria in relation to the supernatural, where widespread fear fueled violent acts against those deemed monstrous or subhuman. She was captivated by the shared theme of violent outbursts—a psychological pattern that society has historically used to justify persecution. During the Middle Ages, suspected witches were hunted and killed as existential threats, a fate often faced today by those labeled as terrorists. The pervasive fear of terrorism, especially when associated with the Arab world, recalls colonial frameworks that cast it as dangerous, exotic, and irrationally “Other.” This narrative of fear, often stoked by political and media representation, turns whole cultures into scapegoats, reviving old colonial tropes of danger and mystery surrounding the East. In response, Yelena’s performances embody this stigmatization and transformation. By becoming “the red woman,” she ritualistically paints herself red and undergoes a symbolic metamorphosis, using hula hoops, a blow dryer, or a skipping rope in ways that symbolize the release of violent energy. This act channels society’s obsession with violence and otherness, yet Yelena uses it to critique these very obsessions. Her alter ego becomes a mirror for the audience, revealing the ways in which fear can obscure humanity and foster unjustified persecution. Through this art, Yelena challenges her audience to confront their own fears, reminding them that mortality is a shared human condition that transcends labels of self and other. Her work urges viewers to question inherited narratives and to find empathy where fear once dominated. Her message is clear: in a world defined by fear, awareness and understanding can be radical acts of resistance.
