Lika, 24

80% price drop! Due to regional tensions — SUPPORT YOUR LOCAL ARTIST. Every man discovers the artistic style that mirrors his deepest desires. PRICE: 2 hours — AED 4,000 (an original 28×36 cm painting created in 2 hours). LOCATION: Frond P, Palm Jumeirah, Dubai, UAE. PHOTOS: Instagram Vika.monaco Telegram V7M1K YouTube PalmJumeirah222 X / Twitter PaintrixLika ArtMajeur VIKAMURA. Smaller and larger paintings available upon request. No ID required, no advance payment on Palm Jumeirah, no references, no appointment needed. A verification video call is available only for guests currently on Palm Jumeirah. A 10-minute face-to-face Art Consultation on Palm Jumeirah is complimentary. Come to Palm Jumeirah, ask all your questions, and tell me exactly what you want and expect. Guest parking available. not a hotel. not a manager. not an agency. not a gallery. i am an independent artist. PAYMENT METHODS: Visa, Mastercard, Amex, Apple Pay, Google Pay, USDT (TRC-20). Invoices on request. I hold a business account with Emirates Islamic Bank. Other methods upon request. Check my availability in my online calendar: https://6000.simplybook.it Open the calendar and choose your date. You will see available and unavailable slots: Green — available Red — unavailable Currency equivalent — aed 4,000 USD — 1,089 Usdt — 1,089 EUR — 960 GBP — 936 CHF — 871 SAR — 4,360 QAR — 3,960 KWD — 3,328 SEK — 10,440 My delightful little art devotees, We all know about the current regional tensions and their impact on businesses and daily life in Dubai. Some have left the city; some businesses, restaurants, hotels and venues have paused. I remain in Dubai. I remain available. I keep expressing Feminine Power through my art. To every art lover who supports me and my art about Feminine Power in this challenging time — your support means the world. Because of you, I can continue living and creating in Dubai on my own terms, radiating even more Feminine Power and unapologetic female authority into the world through my art. A strong woman is not defined by arrogance, distance or coldness. A strong woman chooses who she wants to be and how she expresses herself. Gratitude is not weakness — it is strength. My gratitude to my supporters never diminishes my Feminine Power; it is an expression of female strength, self-determination and unapologetic female authority. This year, my art studio ascends to a new level. I am expanding my collection of paints, brushes, professional tools and materials, and building a more refined space to experiment with new techniques, textures and ideas. That means even more freedom to create something exclusively for you. Whatever you imagine, bring the idea to me. Tell me your desire — then leave it in my hands. From rare materials and textures to bold techniques and unconventional concepts — almost anything you dream of can become part of your painting. If you can imagine it, I can turn it into art. So come closer. Step into my world and let my paintings take control of your attention, your imagination and your senses. Don’t just look — surrender to them. If you are new here and don’t yet know who I am or what my art is about, read on and discover my universe. Still curious? Contact me and meet me in person. I may satisfy your curiosity. —————————————————————- —————————————————————- About me ————————————————————— Who I Am I am Paintrix Lady Lika — a painter and independent visual artist based in Dubai. I create physical and digital abstract artworks for private collectors. I am also an influencer with 2.5 million followers on Instagram. I share my painting process and glimpses of life on Palm Jumeirah, including life with my two white cats — a Maine Coon and a Khao Manee. I create content daily and collaborate with fashion, lingerie and lifestyle brands. I hold a UAE Advertising Permit for commercial content and brand collaborations. I recently launched my YouTube channel, sharing videos from life on Palm Jumeirah, my paintings and behind-the-scenes moments of my creative process. I am completely independent. I work with no galleries, agencies, managers or representatives. You always communicate directly with me. Everything here is written and provided personally by me, and I run all my social media myself. I also hold a Master’s degree in Finance (Master of Science in Finance) from the International University of Monaco (I lived and studied in Monte Carlo for four years). Investing is a personal passion — I invest in stocks and build and manage my own portfolio. I chose not to pursue a financial advisory or investment management licence, as my professional focus is now art, including my own interest in art as an investment. I do not provide investment advice or recommendations. Anything I share about investing reflects only my personal experience, opinions and journey. My art is inspired by power, symbolism and human psychology. In my paintings you can feel power-based aesthetics and performative action painting, where pain and pleasure meet through the dominance of colour and form. My style is feminine dominance in an artistic context — an aesthetic gynarchy shaped by matriarchal ideas, presence, composition and control. I have many passions beyond art. If you wish to know what else I love, what inspires me and what else I can do — contact me. There is always more to discover. ————————————————————— About you ————————————————————— we have a match: We have a match if you are decisive, know what you want and prefer action over endless messaging. You appreciate art, understand my paintings and recognise the value of quality, professionalism, experience and education. You communicate respectfully, can come to Palm Jumeirah and have no trouble sharing your live location when requested. You treat me like your Queen rather than someone taking orders. You may share your artistic preferences — but when it comes to my work, my studio and organisational matters, I remain in control. You understand that individually created art, professional materials, experience, time and education have value. You know true quality never comes at the lowest price. You understand that status changes the rules of access. The higher a woman’s status, the more selective she can afford to be. The art world works the same way: the price of a painting reflects not only the physical artwork, but also the artist’s name, status, recognition and established reputation. As an artist’s status rises, so does the value of their art. An established, high-status artist with a strong, credible reputation need not chase buyers, sell to just anyone, or lower the price to make a sale. If someone cannot afford the artwork, the answer is not to cheapen it until they can. And being able to pay does not automatically entitle anyone to the artwork. An established artist can be selective about who becomes their collector. If you wish to own one of my paintings, paying is only the beginning. You should understand its value, respect the artist behind it, and show me why you deserve to become its collector. You understand the difference between cheap, mass-accessible art and exclusive artwork by an established artist with a name, status, recognition and credible reputation. You don’t simply buy access to the artist. You earn the artist’s attention. You don’t simply buy the artwork. The artist decides whether you get to own it. ————————————————————— we don’t have a match: We don’t have a match if you are indecisive, dishonest, excessively suspicious, or interested in endless messaging instead of action; if you are a photo collector, a time-waster, merely curious with no intention of purchasing, or seeking free entertainment through endless chatting. We are not a match if you refuse reasonable verification when requested, cannot share your live location or a current photo of where you are, demand every detail be confirmed repeatedly, push conversations into unnecessarily explicit territory, or communicate rudely or manipulatively. We are definitely not a match if you try to dominate me, give me orders, tell me what to do, or expect me to obey. I may ask about your artistic preferences, but that does not reverse our roles. If you believe art should cost AED 300–500, there are many artists in that range — you are free to choose them. Different artists exist for different collectors, expectations and budgets. My work is for those who understand its value. Any attempt at blackmail, extortion, intimidation, manipulation or malicious collection of personal data results in immediate blocking. And one very simple personal rule: if you tell me to “relax” or “chill out”, we definitely don’t have a match. ————————————————————— price: 80% price drop — due to regional tensions Support your local artist All prices below already include the 80% price drop. Size price creation time 7×7 cm — AED 300 1 minute 10×10 cm — AED 500 5 minutes 15×15 cm — AED 1,000 15 minutes 13×18 cm — AED 1,500 30 minutes 20×25 cm — AED 2,000 1 hour 23×30 cm — AED 3,000 1.5 hours 28×36 cm — AED 4,000 2 hours 30×40 cm — AED 6,000 6 hours 40×50 cm — AED 10,000 12 hours 50×60 cm — AED 12,000 1 day 60×90 cm — AED 20,000 2 days 100×90 cm — AED 25,000 3 days 120×90 cm — AED 80,000 1 month 100×200 cm — AED 200,000 3 months 150×200 cm — AED 400,000 6 months All prices are non-negotiable. Smaller and larger paintings available upon request. Special requests and bespoke arrangements are considered case by case and discussed exclusively in person on Palm Jumeirah, Dubai — not through messages. Every man finds the artistic style that mirrors his deepest desires. Price is also a natural filter. If my art were free, I simply could not create individually for everyone who wanted a painting. My prices reflect professional materials, my time, the creative process, experience and the education that shaped me as a person and an artist. Collectors who value quality, individuality, expertise and education understand why individually created art cannot be the cheapest option. ————————————————————— payment methods: Visa, Mastercard, Amex, Apple Pay, Google Pay, USDT (TRC-20). Invoices on request. I hold a business account with Emirates Islamic Bank. Other methods upon request. ————————————————————— location: Frond P, Palm Jumeirah, Dubai, UAE I am staying in Dubai all year and will not travel outside the city, so my studio is available for private art viewings year-round. Guest parking available. If you are curious to see my paintings with your own eyes, contact me. The exact studio location and my live location will be provided upon request. I will also ask you to share your live location for one hour, so I can prepare the paintings for your viewing. ————————————————————— photos: Telegram — V7M1K Open Telegram — V7M1K Instagram — Vika.monaco Open Instagram — Vika.monaco X / Twitter — PaintrixLika Open X — PaintrixLika YouTube — Palm Jumeirah — PalmJumeirah222 Open YouTube — Palm Jumeirah 222 Where to see my paintings: ArtMajeur — vikAI dubAI Open my ArtMajeur gallery My Art Website — vikAI dubAI Open my art website Saatchi Art — Coming soon Open Saatchi Art ————————————————————— tools: I use natural latex, genuine leather, PVC leather, mulberry silk, natural mink fur, feathers, designer heels, knee-high boots, riding crops and brushes of various sizes as artistic instruments. In my painting process, the body becomes a tool, materials become language, and movement becomes expression. I work with unconventional materials and instruments that leave their own unique marks on the canvas. My artistic tools and materials may include Agent Provocateur, Honey Birdette, Westward Bound latex, Antoninias, Hermès, Saint Laurent and Bordelle riding crops that guide the stroke, and Louboutin, Dior, Chanel, Jimmy Choo and Mach Mach heels that press colour and movement into texture. ————————————————————— my background: Ethnicity: White Age: 24 Hair color: Blonde Hair length: Long Height: 170 cm Weight: 50 kg Eye color: Grey-green eyes with an amber center Shoe size: EU 35 / US 5 (I paint with my feet) Nationality: Russian (Born in Siberia, Russia. Lived several years in Tenerife, Spain, and 4 years in Monte Carlo, Monaco. In Dubai since May 2025.) Education: Master of Science in Finance — Private Banking and Wealth Management, International University of Monaco. Languages: English C1 (Cambridge CAE certified), Spanish C1, German B2 (Goethe certified), French B1, Russian (native). Religion: Gnosticism, gynocentrism, matriarchy. Personality type: INTJ-A (Myers–Briggs). Marital status: Single, antinatalist. I never wish to marry or have human children. I am happy living alone with my two cats. Social philosophy: Gynocentrism. What I like: Painting, reading, psychology, philosophy and investment discussions, movies and series, managing my IBKR stock portfolio, cats, decorating my apartment, high-quality organic food — especially Japanese A5 Wagyu and Scottish raspberries from Spinneys — and communicating with intelligent, educated people, and the Austrian painter. What I don’t like: Travelling, flowers, shopping, time-wasters, liars, manipulators, penny-pinchers, patriarchy, misogyny, capitalism, male supremacy, pickup artists, incels, performative social behaviour. What I value: Personal freedom, intelligence, honesty, privacy, respect for boundaries. What I avoid: Social conformity, small talk, emotional manipulation, unnecessary obligations, performative relationships, 9-to-5 office work, and intermediaries (managers, agencies, galleries). My priorities: Freedom, autonomy, intellectual growth, financial independence, creative expression. My approach to people: Quality over quantity. I believe in: “Dubai it”, the divine feminine, being a highly skilled professional and one of the best painters in my field, equal exchange, business partnerships, mutual agreements, female authority, and the relevance of Orwell’s 1984. I don’t believe in: Friendship, marriage or romantic love. I’m looking for: People who value my art, long-term art collectors, HNWIs and UHNWIs as my art collectors, neighbours from Palm Jumeirah. I’m not looking for: A boyfriend, husband, visa sponsor (my visa is self-sponsored), an employer (no office job for me), someone to provide housing (I rent my own apartment; Ejari and DEWA are in my name), a man to clean my apartment (I have a maid), any sugar relationship, a lifestyle painter who paints for free, people seeking free entertainment via chat, or collectors with very limited means. ————————————————————— questions: Not sure which artwork is right for you? I invite genuinely interested collectors and art enthusiasts to meet me personally on Palm Jumeirah, where we can discuss every detail of my work. I will answer your questions in depth, explain my artistic process, techniques and materials, and share the passion behind my work. Materials, sizes and painting tools are preferably discussed in person. I value personal interaction and meaningful face-to-face conversations over endless messages. I do not encourage excessively explicit, rude or unnecessarily prolonged chats. Please be respectful in your messages. Detailed questions are simply better discussed naturally in person. A personal meeting does not oblige you to purchase anything. No prepayment required. If, after meeting me and seeing my work, you decide my art is not for you, there is no obligation to proceed. The initial consultation is free. If you are already on Palm Jumeirah and would like extra verification before coming, I can provide a brief video call upon request, after you share your live location confirming you are on Palm Jumeirah. For security reasons, I do not provide video calls to anyone not physically present on Palm Jumeirah. No prepayment required No ID required No references required No appointment necessary Verification video call available exclusively for those currently on Palm Jumeirah. ————————————————————— contact: I prefer communication via Telegram, Instagram or Signal. If you do not use Telegram or Instagram, you may contact me via WhatsApp to continue our conversation. ————————————————————— discretion confidentiality: Strict discretion and confidentiality are expected from both parties. All private communications, personal meetings, information exchanged, photographs, videos, locations and other non-public information are strictly confidential and subject to mutual non-disclosure (NDA) principles. No confidential information may be disclosed, reproduced, distributed, published or shared with any third party without prior consent. These confidentiality and non-disclosure expectations apply mutually. ————————————————————— external art consultations: Some collectors prefer I visit their villa, penthouse, hotel or private residence to discuss artworks in person. I accept external consultations selectively and by invitation only. NO RESERVATION DEPOSIT is required if you are located on Palm Jumeirah, Dubai, UAE. Available exclusively to serious, respectful, confirmed collectors. FULL PREPAYMENT is required for external consultations outside Palm Jumeirah, Dubai, UAE. ————————————————————— are you available? You need not contact me simply to ask if I am available. Check my availability directly in my online calendar: https://6000.simplybook.it Open the calendar and choose your date. You will see available and unavailable slots: Green — available Red — unavailable No payment is required to book. You only need to provide your name, email address and phone number. Option 1 — ready to book If you have read my advertisement, have enough information about me, and feel we may be a great match, simply choose your preferred time and book. After booking, contact me and briefly answer: - Who are you? Tell me a little about yourself. - Why are you interested specifically in me? - What is your preferred style? - What is your budget? - When are you ready for an art consultation? - Share your live location to confirm you are in Dubai. I will then personally confirm whether we are a good match. A booking is not automatically confirmed. I reserve the right to decline or cancel it if we are not the right match or in cases of disrespect, manipulation, dishonesty, scams, threats, blackmail, pressure or boundary-pushing. Option 2 — have questions first? If you need more information before booking, first check my availability in the calendar, then contact me with any questions not already answered in this advertisement. Please do not ask “Are you available?”, “What is your price?”, “Where are you located?” or “How old are you?” — this information is already provided. I will answer your questions, you will answer the same five questions above, and if we are a match, you can book your preferred time. Art consultation The Art Consultation is free and gives us the chance to meet personally, discuss your interests and preferences, and decide whether we wish to proceed. Neither the booking nor the consultation creates an obligation for either of us. If your plans change, please cancel or reschedule in advance. A confirmed no-show without notice results in the phone number being blocked. By making a booking, you confirm that you have read, understood and agreed to the Terms Conditions in this advertisement. ————————————————————— regular collectors If someone tells me they intend to become a regular collector and long-term supporter of my art, I expect more effort, appreciation and generosity from that person — not constant attempts to negotiate discounts or endless free conversations under the excuse of, “But we’re friends” or “I regularly buy your art.” Being a regular collector does not entitle anyone to more of my time for free or to lower prices. If anything, I expect my long-term collectors to value my time and work even more, and to show that appreciation through their effort and tips. The same applies to someone who has never purchased from me. Promises such as, “I’ll buy your paintings regularly, but give me a price ten times lower”, are not acceptable. Anyone attempting this will simply be blocked. A promise of future purchases is not a bargaining chip and does not entitle anyone to a special price today. Remember: the choice works both ways. It is not only about whether a person wishes to keep collecting my art — I am also choosing whether I wish to keep creating for that person. Being a regular collector is not a one-sided privilege creating additional demands on my time, attention or pricing. A long-term relationship between artist and collector must work for both sides and be based on **mutual respect, appreciation, generosity, and value.** ————————————————————— second chance policy Anyone who communicates disrespectfully, wastes my time, ignores my boundaries or behaves unacceptably will be blocked. If you have been blocked and wish to have your number unblocked to resume communication, the unblock fee is AED 6,000. To pay the unblock fee, contact me from a different number and state which number you wish to have unblocked. Once the AED 6,000 fee is paid, I will unblock the specified number and communication may resume. Should you behave disrespectfully again, you will be blocked again. A new AED 6,000 fee is required each time. ————————————————————— friendship shared activities If an art collector also wishes to spend time together as friends, beyond anything art-related, I am open to that. Dubai offers countless experiences we could enjoy — fine dining and Michelin-starred restaurants, dinner shows, beach clubs and private cabanas, yacht trips, helicopter flights over Palm Jumeirah, desert adventures and horse riding, fishing and BBQ, scuba diving, motorsport, golf, kitesurfing, sunset picnics, private zoo experiences, dinner cruises and other unusual activities. If this interests you, simply say your intention is to spend time together as friends, and I will send my full list of experiences I would happily share. Please note: when someone invites me to a shared activity, I expect the inviter to arrange and cover the expenses for both. Time spent as friends is entirely separate from my art. It is not a payment toward an artwork and creates no obligation for me to sell, create, discount or provide any artwork in return. It is simply an opportunity to enjoy a remarkable experience together and maintain a friendly connection outside of art. ————————————————————— Manipulators pick-up artists will be blocked ——————- 1. A first type of manipulation is when a man says: “Give me a better price on the first painting, prove how well you paint, make sure I really like it, and then I’ll become a regular collector and pay the standard price next time.” My response is simple: Asking for a discount is not the problem. The problem is manipulation: using a false promise about the future to obtain better terms today. I do not audition for anyone, and I do not tolerate lies or manipulation. Words are easy; actions matter. Lying to manipulate me is disrespectful. Such people will be blocked. ——————- 2. A second type of manipulation is when a man says: “Spend hours talking to me first, tell me about yourself and let me get to know you, then I’ll decide whether to purchase a painting or invest in your art.” The same applies to: “I’m not in Dubai, but talk to me first, impress me and convince me — then maybe I’ll come to Dubai.” My response is simple: I recognise this manipulation instantly: the possibility of a future purchase or visit is used to obtain free personal conversation and entertainment. I do not audition, persuade, entertain, or spend my valuable time proving myself to strangers. If someone wishes to communicate personally, they can purchase my art or choose one of my separate friendship activities. Making hours of free conversation a condition for a hypothetical purchase or visit is manipulation. Such people will be blocked. ——————- 3. A third type of manipulation is when a man says: “I’m completely new to this, I have no experience, it’s my first time and I understand nothing. Explain everything, tell me about your art and creative process, show me everything, educate me — and maybe one day, when I’m ready, I’ll purchase a painting and contact you again.” My response is simple: I do not offer free educational courses for people without experience in art. If someone wants to learn, they can use Google or ChatGPT, or find paid courses. Inexperience does not entitle anyone to hours of individual explanations or unlimited personal attention. A hypothetical future purchase is no reason for me to provide hours of free guidance. Such people will be blocked. ——————- 4. A fourth type of manipulation is when a man says: “I’m young and poor, can you sell me a painting for ten times less?” My response is simple: No. I do not offer special discounts for young and poor men. Art is not a basic necessity — food, water and housing are. If someone cannot currently afford my artwork, their priority should be building their career, increasing their income and improving their financial position. Especially when young, it makes far more sense to work hard and build a future than to search online for things one cannot afford and ask creators to reduce their prices. Age, income or personal circumstances are no reason for me to reduce the value of my work by 90%. Such people will be blocked. ——————- 5. A fifth type of manipulation is when a man says: “I’ve seen other professionals offering something similar for ten times less. I found someone online in my country who charges much less, so I expect the same price from you.” My response is simple: Asking for a reasonable discount is not the problem. The problem is comparing my work to something priced ten times lower and using that to claim my work is not worth its price. There are professionals at every price level, from free or extremely inexpensive to exceptionally expensive, and everyone may choose within their own budget. If someone genuinely cannot see what makes one person’s work worth ten times more than another’s, they should simply choose the cheaper option. But their inability to see the difference does not mean the difference does not exist. Someone may look at a diamond, mistake it for glass, and offer the price of glass — but their inexperience does not turn a diamond into glass. The same applies to art: an original Van Gogh may have millions of copies and reproductions, and even a first-time painter may attempt one. Those copies may be worth almost nothing, but their existence does not reduce the original to the price of an amateur reproduction. Value is not determined by the cheapest imitation found online. Trying to use a much cheaper alternative to devalue my work by 90% is not negotiation — it is manipulation and disrespect. Such people will be blocked. ——————- 6. A sixth type of manipulation is when a man says: “I’m going to purchase an expensive painting from you in a few hours. I’m definitely coming to Palm Jumeirah today, so spend the next few hours talking to me, answer all my questions, tell me about yourself, give me your time and attention, and treat me like an important client because I’m about to spend a lot of money.” My response is simple: I have no problem answering remaining questions about an artwork in person without prepayment. However, no prepayment means no advance investment of my time, attention or emotional energy. If someone wants significant attention before the purchase, prepayment is required. Otherwise, no one should expect hours of messaging, personal questions, explanations, entertainment or special preparations based solely on a promise to buy later. In my experience, around 99% of people who make impressive promises without financial commitment never follow through, or use those promises to obtain free attention. Someone may genuinely be the honest 1%, but I cannot build my boundaries around exceptions. When I refuse to become emotionally involved, some switch to manipulation: calling me rude, cold, arrogant or unkind, or threatening to cancel the purchase unless I become warmer and more attentive. Others enjoy pretending to be wealthy clients while expecting someone to compete for their money, flatter them, entertain them or react emotionally. I know these techniques, and they do not work on me. If a person genuinely intends to purchase a painting that day, they can simply come to Palm Jumeirah and send their live location en route. Once they arrive, I will gladly answer any remaining questions about the artwork and purchase. Without prepayment, I make no special preparations and do not emotionally invest in promises. I would rather lose one genuine client than waste my time on a thousand people pretending they can afford my art just to obtain attention, provoke a reaction or play games. Promises create no obligations for me. Actions do. Anyone who promises to come to Palm Jumeirah to purchase a painting, uses that promise to demand my time and attention, and then fails to show up will be blocked. ——————- 7. A seventh type of manipulation is when a man says: “I read the text. I thought you were a professional, but now I don’t think you are. Prove that you are a professional, or I’m not interested.” I do not prove myself to people who contact me. They contacted me, not the other way around. Someone’s subjective impression does not change my five years of experience. My advertisement clearly states that I am a professional and that I use professional materials, tools and equipment. If someone still feels additional proof is necessary, there are three options: a.Come to Palm Jumeirah and meet me in person to decide whether my level of professionalism meets their expectations. Anyone who says I must first prove my professionalism because coming to Palm Jumeirah without such proof would be “a waste of time” is being selfish and one-sided: if meeting me in person is a waste of their time, while hours of messaging are not a waste of mine, such people will be blocked. b.Pay the required deposit or book a paid Q A. When someone approaches me with “prove that you are a professional”, my position is equally simple: if I am expected to prove I am a professional, they should first prove they are a serious buyer. Once there is a financial commitment, I am happy to answer questions and discuss additional details. Anyone who turns this into a “you prove yourself first, then I’ll prove myself” game will be blocked. c.Choose another professional whom they already trust and consider suitable. Trying to provoke me into defending my qualifications is not a negotiation. It is a way to obtain my time, attention, information and emotional engagement for free. I do not compete for clients; clients compete for the opportunity to access my art. People contact me because they have already decided I am the professional they want, and I decide whom I create for. Anyone who continues demanding that I “prove that you are a professional” without an in-person meeting or a financial commitment will be blocked. ——————- 8.An eighth type of manipulation is when a man says: “You are not a real artist. Only lifestyle artists are real artists, and real artists never charge money for their art. They create because they genuinely enjoy it. Paints, brushes, materials, tools and equipment are their own expenses because this is the lifestyle they chose. I am not interested in an actress pretending to be an artist.” This is a very common manipulation and a very convenient definition of a “real artist” for someone who wants an artist’s creative work for free. According to this logic, the artist should pay for materials and equipment, invest their own time, develop their skills, create the art, and then provide the result for free — while the other person contributes nothing and calls this “authenticity.” Very convenient. I do not prove I am a “real artist” by providing my work or my time as an artist for free. Choosing art as a lifestyle creates no obligation to provide it to others without payment. Enjoying what I do does not make my work or my time as an artist worthless, and paying for my own materials, tools and equipment certainly does not entitle anyone else to what I create. There is no logical reason why art becomes more “real” when received for free and somehow becomes an “act” when the artist is paid. A price does not make art less authentic. It simply means the person who wants the artist’s work is expected to contribute financially instead of expecting the artist to carry every cost. Calling an artist “not real”, “not genuine” or “just an actress” proves nothing about the artist. It is an attempt to provoke them into defending their authenticity by giving away their creative work or time for free. That tactic will not work with me. I will not prove my authenticity as an artist by giving someone exactly what they want for free. Anyone who genuinely believes only artists who create for them for free are “real artists” is welcome to find an artist who accepts that definition. I do not. My prices and conditions are not determined by someone else’s definition of authenticity. Anyone who continues using accusations about my authenticity as pressure to obtain my creative work or time for free will be blocked. ——————- 9.A ninth type of manipulation is when a man says: “Do you not have enough money yourself? Why do you charge money for your art? Only people who have no money ask others to pay for their talent. I am not interested in buying art from a poor artist who begs for money.” This is another very convenient manipulation: shaming someone for charging for what they create, while simultaneously wanting the result of that creation. The purpose is obvious — if the artist can be embarrassed into proving they “have enough money”, the person applying the pressure hopes payment will somehow become unnecessary. The same logic could be used after inviting someone for coffee: “What, you do not have enough money to pay for your own coffee? I am not interested in people so poor they cannot even afford a coffee.” Obviously, being able to afford your own coffee does not mean the person who invited you should suddenly expect you to pay for it yourself just to prove you have money. In exactly the same way, being able to afford my own materials, tools and lifestyle does not mean I should give my art away for free just to prove I can afford to do so. I do not charge for my art because I need rescuing financially. I charge because my art has a price. Whether I personally have one dirham or one billion would not change that principle. A buyer pays because they want something I create — not because they have assessed my bank balance and decided whether I “deserve” to be paid. Calling an artist “poor”, “a beggar” or implying that accepting payment demonstrates need does not strengthen the argument. It simply attempts to replace payment with humiliation. I will not prove that I have money by giving someone exactly what they want for free. That would not demonstrate wealth — it would only reward the manipulation. People who genuinely believe paying an artist is beneath them are under no obligation to buy my art. They are welcome to spend their money elsewhere. Anyone who tries to shame me for charging, or calls me “poor” or “a beggar” to get what they want for free, will be blocked. ——————- 10.A tenth type of manipulation is when a man says: “I do not understand what art or painting means. Explain everything in messages. Tell me exactly what you create, how you create it, and show me all your paintings. I am not coming to Palm Jumeirah just to talk because that could be a waste of my time. First answer all my questions and explain everything in messages, and then, if I am satisfied, I may come to Palm Jumeirah to discuss your art in person.” This is another attempt to make access entirely one-sided: my time should be spent explaining, demonstrating and proving everything in advance, while their time is treated as too valuable even for a short in-person conversation. I do not explain or discuss the details of my art in messages. That is my principle, my working style and part of my brand. People who genuinely appreciate my art travel not only from other parts of Dubai, but from Abu Dhabi, other Emirates and other Gulf countries specifically to meet me and discuss my art in person. If someone already lives in Dubai but considers a 15–30 minute trip to Palm Jumeirah an unacceptable “waste of time”, while expecting me to provide private explanations in messages, we are simply not a match. My paintings are for people who value them enough to make an effort. I do not audition for potential buyers, teach strangers what art is, or provide private demonstrations in messages to convince anyone my paintings are worth seeing in person. Anyone genuinely interested can review the information already available about me and my art and then come to Palm Jumeirah to discuss it with me personally. The in-person conversation is free. I am happy to answer questions and discuss my art in detail in person. If even that small effort is too much, there is nothing further to discuss. Anyone who describes coming to Palm Jumeirah as a potential “waste of time”, while expecting unlimited explanations in messages first, will be blocked. ——————- 11. An eleventh type of manipulation is when a man says: “I don’t want to read everything you wrote on your website or in your advertisement. Just send me the answers here. Why is that so difficult? It will only take you a minute. Just answer my questions directly.” My response is simple: The problem is not that I cannot answer the questions. The problem is the attitude behind the demand. First, I do not appreciate strangers contacting me and immediately giving me instructions about what I should do for them. “Just send it to me”, “just answer me here” or “it only takes a minute” are not requests — they are attempts to dictate how I should spend my time and communicate. I prefer not to deal with people who approach me with orders. Second, this attitude assumes their time is more valuable than mine. They do not want to spend several minutes reading information I have already taken the time to prepare, yet expect me to spend my time repeating it individually for their convenience. Their unwillingness to spend their own time creates no obligation for me to spend mine. Third, refusing even the smallest effort to learn about me says something about the seriousness of the enquiry. Someone genuinely interested will make an effort to understand who I am and whether what I offer is relevant to them. Someone who sends the same generic questions to multiple people without reading the information already available is not genuinely choosing me — they are seeking the quickest, easiest or cheapest option. In that situation, there is no reason for me to invest my time in a personal explanation. I do not participate in mass messaging campaigns where the same questions are sent to many people and whoever responds fastest, explains the most, or offers the lowest price gets selected. There is another version of the same manipulation. Sometimes a person has already read the information and knows perfectly well my terms, but pretends otherwise and asks me to repeat everything in private messages. They may assume the advertisement, website or profile was written or managed by an assistant, manager or agent, and hope that by asking me directly they might receive different terms — perhaps even a price ten times lower than stated. Anyone who thinks this strategy will work has seriously miscalculated. I manage everything myself, I know exactly what information I publish, and pretending not to have read it will not produce a better price or better terms. The only thing this tactic will produce is a block. I can understand financial limitations. There is nothing wrong with honestly saying something is outside your budget or politely asking whether another option exists. Financial limitations are not the problem. Dishonesty is. I have already provided detailed information answering approximately 99% of the questions people usually ask before contacting me. I wrote it specifically so I would not have to repeat the same information individually to everyone who messages me. I answer all messages myself. I have no manager, assistant, agency, representative, or anyone else communicating on my behalf. I handle everything myself from beginning to end, including my social media and all communication. When I answer you, you receive my personal time and attention — not the time of an employee whose job is to respond to every enquiry. If someone expects every question to be answered personally and all available information repeated on demand, they should contact professionals who employ managers or communication staff for that purpose. That is not how I operate. Because I handle my communication personally, I choose to engage with people who demonstrate genuine interest and make some effort themselves before expecting personal effort from me. If reading is too much effort, contacting me is unnecessary. I can be understanding about someone’s financial situation. I will not be understanding about lies and manipulation. Anyone who refuses to read the information already provided, pretends not to have read information they have seen, instructs me to repeat it personally, dismisses my time with “it only takes a minute”, treats me as one recipient in a mass messaging campaign, or lies and manipulates to obtain better terms will be blocked immediately, without a second chance. ——————- 12. A twelfth type of manipulation is when a man says: “I am used to artists competing for my offer, not to having to prove that I deserve an artist’s time. Normally, I contact an agency, gallery or manager, tell them what I want, and they choose from hundreds or thousands of artists who can do it. I can compare them, choose the one I like most and take the best offer. Why should I compete for an artist’s attention when I can find someone else who will do the same thing for several times less?” This is another type of manipulation: deliberately contacting a specific independent artist and then trying to pressure that artist into operating under the same conditions as an agency, gallery or manager representing hundreds or thousands of interchangeable artists. These are two completely different models. If you contact an agency, gallery or manager and say, “I need a painting of a girl with a balloon”, they may indeed present hundreds of artists willing to create one. You can compare portfolios, prices and conditions and choose the best deal. Someone may even create something similar for $10. In that model, artists may compete for the commission. There is nothing wrong with that. But if what you specifically want is Banksy’s Girl with Balloon, the situation is completely different. In 2018, an original Banksy Girl with Balloon was offered at Sotheby’s and sold for over 1 million. Potential buyers competed through bidding, and the highest successful bidder obtained the work. Now imagine telling those bidders: “Why are you competing and offering more than a million pounds? Someone else can paint a girl with a balloon for $10.” Of course they can. But then they will own a painting of a girl with a balloon by another artist. They will not own Banksy’s Girl with Balloon. The fact that someone else can create something with a similar subject for a fraction of the price does not make the two works interchangeable. That is precisely the difference. When you want a generic result and do not care who creates it, artists can be compared as alternative providers and may compete for your commission. When you specifically want the work of one particular artist, the artist is no longer interchangeable. At an auction for an original Banksy, it is not hundreds of artists competing for one buyer’s money — it is multiple buyers competing with their money to acquire the work of one specific artist. The same principle applies when you contact me directly. You are not submitting a generic request to an agency, gallery or manager and asking them to find the cheapest available artist from a database. You are contacting a specific independent artist, under her own name, brand, style and conditions, because you want something created specifically by her. I do not work through an agency, gallery or manager, and I am not one candidate in a database competing against hundreds of other artists for a commission. I choose the projects I accept and the people I create for, just as much as they choose me. If you specifically want a painting created by me, then telling me that an agency, gallery or manager can find hundreds of other artists who will compete for your commission or work for several times less is irrelevant. Of course they can. You are completely free to choose one of them. But then you will receive their work, not mine. You cannot treat the artist’s identity as important enough to contact me specifically, while treating the artist as interchangeable the moment you wish to negotiate. If you want something specifically from me, I expect enough genuine interest to know whom you are contacting, to have read the information I provide, and to communicate in a way that makes me interested in accepting you as a client or collector. If that feels unreasonable, stressful or beneath you, contact an agency, gallery or manager and ask them to find an artist according to your preferred price and conditions. That model may suit you far better. I do not compete to become the cheapest interchangeable option. If price and convenience matter more to you than who actually creates the work, I am simply not the right artist for you. Anyone who attempts to pressure me into competing with other artists, agencies, galleries or managers for their business, or treats my selectivity as something I should abandon to “win” them as a buyer, will be blocked. ——————- 13. A thirteenth type of manipulation is when a man responds to a factual statement or a clear boundary with: “Relax.” “Chill out.” “Calm down.” “You are rude.” “You could be nicer.” “Other people talk to me more nicely.” My response is simple: When I state a fact or establish a boundary, there is something concrete to respond to. For example: “Please do not ask me the same question twice.” “This information is already publicly available.” “Why are you asking me for information that is already clearly written in my ad?” These statements contain no personal attack. When someone cannot respond to the facts and instead starts discussing whether I am “nice enough”, “rude” or need to “calm down”, they are changing the subject and attempting to put me in a defensive, subordinate position where I am expected to justify myself, apologize, soften my boundaries and seek their approval. If a person in this situation responded with “Sorry, I didn’t mean to sound rude” and changed their behavior, it would demonstrate that the manipulation worked: criticising their tone was enough to make them retreat from a boundary and provide more attention. This is a test of how easily someone can be pushed into becoming more submissive and accommodating. If one person were genuinely insulting another, calling that behaviour rude would be legitimate. But when these words are used without any insult — simply in response to an inconvenient fact, direct question or boundary — they are manipulation, pure and simple. The pattern is: push a boundary, receive a direct response, attack the tone instead of addressing the facts, make the other person defend themselves, obtain more free attention. I do not participate in this dynamic. A serious buyer does not need to test whether criticism can make me more submissive or accommodating before making a purchase. Facts do not become rude simply because someone dislikes hearing them. Anyone who responds to factual statements or legitimate boundaries with “relax”, “chill out”, “calm down”, “you are rude”, “you could be nicer”, “other people talk to me more nicely”, or any variation of the same tactic will be blocked immediately. ——————- 14. A fourteenth type of manipulation is when a man says: “Yes, I live in an expensive area and drive an expensive car, but right now I don’t have enough money to pay the full price of your painting. I only have this amount. Take it — it’s better than nothing. Maybe next time I’ll pay the full price.” Or: “I could pay your price, but only if the painting were two or three times bigger. For this size, I would only pay a third of your price.” This is manipulation because the person is trying to pressure me into accepting a lower price while clearly showing that money itself is not the real problem. They can afford my artwork; they have simply decided my painting should cost less or that they should receive much more artwork for the same money. Everyone is entitled to their own opinion and spending priorities. But that opinion does not change my experience as an artist, the time involved in creating my paintings, the cost of professional art materials and production, or the prices I have established. A potential buyer does not get to recalculate the value of my artwork simply because they would prefer to pay less. There is a big difference between someone who genuinely cannot afford my artwork and someone who has the money but lies about not having enough and uses that lie to manipulate me into lowering the price. There is also a difference between someone who has been saving for months and is still slightly short, and someone who can afford the full price but invents financial excuses because they want a better deal. I can be understanding and generous with someone who genuinely values my art, has made a real effort to afford it and is still slightly short. I may choose to meet that person halfway. That is my personal choice, not a discount anyone is entitled to. This understanding does not apply to someone who can easily spend the same amount, twice as much or ten times more on a dinner, a bottle of wine, a business-class flight or a luxury car rental, but suddenly says, “This is all the money I have right now”, when it is time to pay for my painting. They present themselves as unable to pay while expecting me to cover the difference with a discount. Statements such as “Take what I have — it’s better than nothing”, “Maybe next time I’ll pay the full price”, or “I would pay your price if the painting were three times bigger” are versions of the same pressure: “I have decided what your artwork should cost, and now I expect you to lower your price or give me substantially more artwork for the same money.” I know the saying that rich people stay rich because they always look for discounts and better deals. They are free to do that. But I am equally free to refuse to be the person whose artwork, time and money are sacrificed so that someone wealthier than me can save more of theirs. I am not interested in helping someone increase or protect their wealth by pushing down the prices of my artwork — especially when the price demanded would barely cover, or not even cover, my professional art materials and production costs. Why should I financially sacrifice something for a person who has made no effort to meet me halfway, but expects me to make all the sacrifices? If someone genuinely cannot afford a painting, they can save, wait, choose a smaller artwork or come back later. If they genuinely value my art, have been saving for months and have made a real effort, I may choose to help. But someone who has enough money to buy my art, comfortably spends large amounts on luxury, and then uses financial excuses, promises of future purchases or demands for two or three times more artwork for the same price will not receive the same treatment. I am interested in long-term collectors who genuinely value my art and respect my pricing. I am not interested in wealthy people who can afford my artwork but try to redefine its value according to what they personally prefer to pay, and then turn the purchase into a psychological game to see how far they can push my prices down, how much more they can get for the same money, or how far they can push my boundaries. My emotional peace is worth more to me than any artwork sale. That is why I usually block someone who lies to me, manipulates me or tries to use my kindness to make me lower the price of my artwork. I would rather lose an artwork sale than sacrifice my time, money and emotional peace so that someone wealthier than me can save a little more at my expense. Anyone who can afford an expensive lifestyle but falsely claims they cannot afford the price of my artwork, and uses that lie to manipulate me into lowering the price or giving them substantially more artwork for the same money, will be blocked. ——————- 15. A fifteenth type of manipulation is when a man says: “You are just an artist. Your job is to make the painting, not to have an opinion. I told you what I want, so stop asking me questions and do exactly as I say. I am the buyer, and you should simply do your job.” This is manipulation through a false sense of authority. Purchasing or commissioning an artwork does not place the artist beneath the buyer in any hierarchy. Nobody becomes my employer, supervisor or superior by purchasing my work or requesting a commission. A buyer or collector is welcome to describe what they want, discuss the concept and request changes. But the moment someone starts giving me orders, dismissing my professional judgment or speaking to me as though I am their employee, the discussion is over. You can request my work. You cannot command me. I choose which commissions I accept, which collectors I work with and which conversations I continue. I am perfectly comfortable declining a sale, which is why attempts to establish superiority through money, status, arrogance or intimidation are particularly ineffective. Someone who believes purchasing power places an artist beneath them has not demonstrated power. They have demonstrated that they do not understand how professional relationships with independent artists work. I have no interest in educating an arrogant adult in basic professional manners. There are countless artists in the world. Anyone who dislikes my boundaries or the way I work is entirely free to choose another. They decide whether they want my artwork. I decide whether I want to work with them. Both decisions are required. Anyone who attempts to speak down to me, establish a hierarchy that does not exist, treat me as an employee, or suggest that purchasing my artwork grants authority over me will simply be refused and blocked. ————————————————————— Online communication safety Under UAE Federal Decree-Law No. 34 of 2021 on Countering Rumours and Cybercrimes, certain categories of online communication may carry serious legal consequences. For legal, privacy and online safety reasons, I do not engage online in sexually explicit or erotic conversations, discussions that may be considered obscene or contrary to public morals, or sensitive discussions concerning religion, religious beliefs, or other legally restricted subjects. This applies to Telegram, WhatsApp, social media, email and all other forms of electronic communication. You are free to write whatever you choose. I am responsible for my own online safety and therefore choose carefully what I discuss in electronic communications. If you would like to discuss something sensitive or personal with me, we can do so in person. ————————————————————— disclaimer: This profile concerns my visual art, artworks and artistic practice. Any references to dominance, control, pain, pleasure or similar themes are used in a symbolic and artistic context and form part of my artistic persona and creative expression. All words, visuals, concepts and identity references presented herein form part of a personal narrative, artistic performance and creative expression. Nothing presented here should be interpreted outside the context of my visual art and artistic practice. ————————————————————— ————————————————————— how to initiate the first message: If you wish to explore my art, introduce yourself with clarity. If you are unsure how to begin, simply say: "Paintrix, may I explore your art? Here is my budget (insert budget). Here is the exact time I can be on Palm Jumeirah for the Art Consultation: (insert time)." These are not merely words. They are keys. The right words open the right doors.