Twenty-four of the paintings depict so-called round-headed little men and their struggles in life.
Six paintings of the series were purchased by the Moscow Museum of Modern Art and by private collectors.
All paintings of the cycle the artist herself calls visual metaphors to the book and not illustrations.
In Lena Hades' interview with Nietzsche.ru portal, she told about the prehistory of the cycle:HADES.To be very brief, in my case, there was the birth of painting from the spirit of the text.
Without Nietzsche I would never have decided to become a professional artist, to abandon from all other "callings" in favor of painting.
Apparently, there is a certain spiritual affinity between us, which allows me now to breathe easy his texts.INT.Your works, especially large ones, are dominated by these expressive saturated reds and yellows, creating an atmosphere of condensed semi-insanity, inhuman, demonic tension.
Is that the feeling you have due to Nietzsche’s texts?HADES.For me, this is what the nakedness of life is, or more precisely, its halkion element.
"Figurative language of Lena Hades expresses itself often intentionally as a poster, because we see here some visual tablets which should stir and awaken.
At the same time, the language of her images remains faithful to the fundamental task of the artist: every artist should be a dervish, not only in order to conjure the collective memory, being in constant motion, but also to stay in the thought and memory of our times.