What follows is not a simple description of the works on view, but an analytical journey through five key dimensions of the project: its negotiation between eternity and the instant, the specific material process that Oksana Mas has developed, the daily protocol of creation, the way historical fracture is inscribed in abstraction, and the exhibition’s function as both visual atlas and inner landscape.

In 365 Rituals of Transformation, Oksana Mas stages a rare collision between the accelerated rhythms of contemporary life and the slow, almost liturgical temporality of painting. Trained in both fine arts and philosophy, she approaches each work as a site where concepts of eternity and modernity are forced into negotiation rather than peaceful coexistence. Her modular compositions, deployed across the gallery space, generate not just visual impact but a system of signs in which recurring motifs, chromatic variations and shifting scales behave like a living language. The paintings refuse the easy satisfaction of a single glance: their density of symbols, repeated and recomposed from canvas to canvas, asks the viewer to linger and to recognise themselves as part of a long visual genealogy that stretches from medieval altarpieces to digital interfaces. In this sense, Mas does not simply make images; she constructs temporal architectures in which the present is always already haunted by past forms and future possibilities.

The patented "Mas technology" underpins the entire exhibition, and understanding this process is key to grasping the conceptual stakes of the work. The successive application of thirty to forty layers of oil paint and varnish produces surfaces that are less like pictures and more like sedimented records of time. Each canvas operates as a palimpsest in which earlier gestures are partially veiled yet never fully erased; the eye navigates between depths, tracing fissures where colour resurfaces like memory breaking through repression. What could have been a purely technical feat becomes an epistemological proposition: knowledge, Mas suggests, is always layered, always opaque, always mediated by what came before. The paintings thus function as ritual objects rather than decorative images; they conserve, compress and transform visual matter into something that behaves almost like a reliquary of experience. In the context of Galerie de Buci, these luminous, thickened surfaces invite viewers into an intimate yet demanding encounter with the materiality of time itself.

365 Rituals of Transformation is anchored in a rigorous protocol: one work per day, over the span of a year. This constraint is not a mere performance of discipline; it reconfigures the status of each canvas within a larger ecosystem. Every piece becomes a visual cell, autonomous yet incomplete, whose full meaning emerges only when seen in relation to the others. The exhibition thus reads as a living organism composed of 365 units—of which a carefully curated constellation is presented at Galerie de Buci—each recording a specific temporal vibration. Mas turns repetition into an engine of difference: forms recur but never identically, colours shift in temperature, lines tremble or stabilize, and compositional rhythms accelerate or decelerate from one day to the next. The series lays bare the invisible labour of artistic practice, foregrounding the fragile continuity between days that are ordinary and days marked by rupture. What the viewer encounters is not a static collection of works, but the trace of a year-long negotiation between intention, contingency and endurance.

The temporal dimension of the project is inseparable from its historical context: the cycle unfolded against a backdrop of war and the annexation of Crimea in 2014. Rather than illustrating political events, Mas allows them to filter into the work as pressure, as atmosphere, as structural instability. The paintings function as aesthetic seismographs, registering tiny fractures in rhythm, shifts in tonalities, moments where the compositions tighten or threaten to fall apart. Abstraction here does not mean withdrawal from reality; it becomes a language for articulating collective anxiety, mourning and resilience without resorting to direct representation. By working with domestic-scale canvases and intimate formats, Mas complicates the heroic rhetoric of monumentality often associated with historical trauma. The viewer is instead drawn into a space where history is felt from within, as a vibration that passes through the body and the retina. In this way, 365 Rituals of Transformation transforms geopolitical rupture into a series of delicate yet insistent visual disturbances that continue to resonate long after the viewer leaves the gallery.

Seen as a whole, the exhibition operates as a visual atlas in which each painting retains its individuality while contributing to a broader cartography of spiritual, historical and sensory experience. The hanging at Galerie de Buci emphasises this dual movement: visitors navigate clusters of works as if moving through an archive of possible worlds, yet each canvas functions as an intense point of focus, a portal into a self-contained inner landscape. The stratified textures and saturated colours pull the gaze inward, encouraging a contemplative mode of looking that stands in quiet opposition to the speed of contemporary image consumption. At the same time, the modular logic of the series—its repetitions, variations and constellations—situates every viewer within a larger field of relations, suggesting that perception itself is a ritual of transformation. 365 Rituals of Transformation thus presents more than an exhibition; it offers a sustained proposition about how images can help us inhabit time differently, inviting visitors to cross the threshold from mere spectatorship into a shared, meditative experience of resilience and renewal.

365 Rituals of Transformation condenses a year of artistic labour into a concentrated experience that can only be fully apprehended in the physical presence of the works. The shimmering, stratified surfaces, the subtle shifts between canvases and the careful choreography of the hanging at Galerie de Buci resist reproduction on a screen; they ask to be encountered at the pace of a slow walk, a returned gaze, a second visit. We therefore invite you to step into this temporal and sensory landscape at Galerie de Buci and to let these 365 rituals resonate with your own. The exhibition is on view until 10 January, offering in the heart of Paris a rare opportunity to experience how painting can still transform the way we inhabit time.