Margo Trushina's latest sculptural series explores how humanity perceives and experiences our environment and its physical and metaphysical boundaries. 

Turning to the philosophy of posthumanism, the ideas of Donna Harraway and Rosie Braidotti on the equality of Man, Nature and Society as three jointly evolving entities, as well as developing Timothy Morton's thesis about "ecology without nature" and a world where living and non-living objects are woven into social, political and sensual relationships, Margo Trushina creates her own space where she invites the viewer to think about both the “nature” of man and our attitude to “nature”. This concept of the  "anthropocene", imported from geology into philosophy and designating the period of the irreversible human influence on the Earth’s ecosystem, is understood not only as a definition of a new era in the existence of space, but also as an aesthetic and sensual phenomenon, “the experience of living in depleted and toxic world,” which artist introduces into her arsenal of discourse and practice.

Using natural and artificial materials such as plants, metal, stone, wood, photographs and found or collected objects, artist employs the methodology of insinuating meaning through murging the artificial and the organic, and bringing to surface their underlying tensions and commonalities.

Often employing the use of synthetic materials parodying those of nature, these works beckon the viewer to suspend their knowledge of the image as a constructed fiction, and imbue them with their beliefs and fantasies. It is the interstice between the instinctual action of perception and the logic of comprehension that fascinates the artist. Experience is rendered both physiological in her works through an accentuation of the gap between the rational expectational of an occurrence and its correlation with the visceral experience of it. 

Margo Trushina explores metaphor, communication and public participation through site-specific installations, sculptures, live performances and interventions. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings.