The woman's life and all decision-making power is transferred from the hands of the father to the hands of the husband. The picture highlights the symbol of the patriarchy that accompanied this transaction.

The Mosuo community is one of the best-known matriarchies in the world. There is no institution of marriage and it is socially accepted that women live with any number of partners. The community calls relationships 'transient marriages'.

A traditional Łowicz wedding was a spectacle attended by the entire village. Weddings in the nineteenth century lasted from Saturday to Thursday.

Men dominated the Mongol social structure. As usual, society was patriarchal and patrilineal. But compared to women in other patriarchal societies like Persia and China, Mongol women had a lot more freedom and influence.

The painting depicts a Balinese female wedding outfit. The work alludes to the patriarchal pattern found in cultures around the world. The painting shows its symbol, the crown, in a very expressive way while reducing the woman's face impact to the level of the background.

Norway is one of the best gender-balanced countries in the world. Almost equal numbers of male and female MPs sit in parliament and women earn an average of 87.9% of men’s wages in 2021.

How is blue viewed in different cultures? What first comes to mind when you consider it? Clothes for a young boy, or perhaps a suit?

What is the cultural perception of the color pink? What comes to mind when you consider that color?

Hussy is a social commentary on how women's sexuality is perceived. In that area, the painting illustrates unequal treatment of genres. We can easily put on this social mask and forget that there is a person behind it.

I felt obligated to reflect on the events that began on February 24. But I didn't want this reference to be an expression of the sadness that this event has caused us all. Rather than adding bitterness to this huge goblet of tears, I decided to speak about the size of Poland's support for Ukraine. In my opinion, the scale of the support given has amazed even us.

The Padaung women's story is a never-ending struggle for freedom. In the 1980s, they fled their native Burma to escape the brutal regime.

The painting is the beginning of the series "Women Have a Voice", a commentary on how we perceive the figure of a woman in society. At first glance, the painting is a visually pleasant jigsaw, but under the next layer I have placed a deeper meaning than that available in the instant form.

There are very few examples of women's group activities in our culture. Rural women's circles have long been passe and in return, no new form has come along. Now women's circles are beginning to emerge, but I have a feeling that this is only the beginning of a revolution in this space.

The painting takes up the subject of restoring the energy of decision-making to women who consciously decide about themselves, their own bodies and the future.