Arslanov, in her artistic work, uses diverse media from painting and drawing to animation-video and sculpture. Architecture is one of the central motifs of Arslanov’s work, embodied in various architectural elements that reappear in her works. She draws inspiration from buildings and structures that she across in her local surroundings, as well as in foreign territories. What intrigued her about architecture is the obvious potential of constructing a new autonomic compound, the way ornaments and other aesthetic elements migrated under different political consequences throughout history. These then find their way into the works in the form of various architectural elements that repeat and appear in the content in several versions. It builds a new environment, new worlds, and new relationships between different cultures, people, nature, and objects. The core of her work revolves around creating a fantastic world that exists according to an independent set of rules and codes. It is a small autonomous universe that consumes diverse characters, accessories, and organic elements – drawn from the magical, beautiful, naive, and erotic worlds, as well as from the dark worlds of violence, terror, and brutality.

Arslanov’s cultural and social background plays an important role in her body of work. She was born in Tajikistan and grew up in Uzbekistan until she immigrated to Israel in 2000. The culture she absorbed in her early years is a unique combination of Eastern and Muslim elements with the dominant influence of Soviet culture, moving to Israel also left a significant mark on her.

A few years ago, in the secondhand bookstore, a book illustrating the armor and weapons of knights in the Middle Ages caught her eye. What interested her was a gap between the beauty, design, and aesthetic in contrast to the violent, even brutal purpose for which they were created. She begins to think of armor as an extension of the body, as skin, and how it “can feel” the pain. The meaning of pain in our days, as physical or mental. Arslanov creates a series of works in which the color tones of the painting are made of different shades of human skin that seek to indicate the sense of contrast of fetishism, eroticism, beauty, and seduction of the works, with a disturbing wounded curtain that depicts a “delicate brutality” that creates all together with an enigmatic scenery of something familiar and strangely alienated at the same time. The idea is to generate a threatening atmosphere in which the organic traces blend with the inanimate.