By choosing this Latin formula as a title, the artist sets an epic scale, but directs it not outward, but inward – to the primordial, cellular, archetypal matter of feminine nature.

In the series' monumental canvases, the egg is not just an object, but a universal symbol, shattered to reveal its essence. We see the fragile shell at the moment of catastrophic cracking, the fluid, living yolk, and the scrambled egg as the result of an irreversible transformation. The hyperrealism of the fragments here coexists with an almost abstract, pictorial element, transforming the biological form into a cosmic landscape.

A portrait of a state. A portrait of choice. A portrait of pressure and liberation. The "First Principle/Ab ovo" series explores what binds and defines a woman long before her personal choice—the archetypal expectation of "destiny." The egg here becomes a metaphor for potential, the dormant possibility of "procreation" within the body, which for some is a desired essence, and for others, an imposed imperative, a source of profound frustration.

A point where the potential becomes actual, but not always in the expected way. This can be an act of creation (the birth of a new life) or an act of creativity (the birth of an idea, a project, a different self). Or it can be an act of protest against this very dilemma.

Resisting the simplistic reading "about motherhood," the series explores the very nature of woman in all its dialectical complexity: fragility and strength, the inertia of matter and the explosive energy of life, expectation and its disruption, sacrifice and self-realization.

Pervushina's painting captures this moment of transformation—painful, unkempt, damp, and glittering. The experience of overcoming frustration is seen here not as a victory, but as a process: to crack, to spill, to change shape, to harden under the intense pressure of circumstances, and, perhaps, to find a new, unique configuration.