I began Menstrala as a private discipline. Between 2000 and 2003, I created eighty‑eight menstrual‑blood paintings that emerged through a sustained, cyclical practice. My background in classical ballet shaped the way I approached the work: through movement, breath, and intention. The body was not only the instrument — it was the source of the mark.

Menstrual blood became my medium because it carried immediacy, rhythm, and emotional presence. Each painting arose through gesture rather than illustration. I did not set out to depict menstruation; I set out to work with it directly, without euphemism or avoidance. The forms came from motion, from the choreography of the body, and from the continuity of the cycle itself.

Menstrala reframes the menstrual cycle as a site of intelligence rather than taboo. It offers a visual language that is neither clinical nor politicized, but aesthetic and embodied. My intention has always been to restore the cycle to cultural visibility — to allow it to be seen as a source of beauty, structure, and creative legitimacy.

As the originator of Menstrala, my responsibility is to protect the integrity of this archive. The original works remain singular and unrepeatable. Any reproductions, publications, or digital representations must honor the conditions under which the paintings were created and respect the movement’s foundation.

Menstrala is not merely an art series. It is a cultural correction — a reclamation of embodied experience and a reminder that creation begins with the cycle.