Faina Yunusova, an interdisciplinary artist living between Uzbekistan and Germany, navigates the complexities of her cultural background, seeking to create artistic representations that resonate with depth and authenticity while embracing the fluidity of contemporary existence. In her artistic practice, Yunusova focuses on self-reflection and societal inquiry, exploring themes of memory and communal expectations in the digital age. Her expansive portfolio spans monumental painting, photography, video, digital art, artificial intelligence, performance, and installations.

Discussing her artistic philosophy, Yunusova elucidates, "My works encompass a spectrum of media. At present, my focus revolves around the exploration of fluid identity, the nuanced challenges of memory erasure, and the critical examination of the exoticising gaze. Rooted in experimentation, my artistic projects seamlessly intertwine, forging a dynamic narrative within my body of work.”

Yunusova's artistic endeavours delve into the realms of identity and identification, notably centred on Uzbekistan. This geographical context remains a pivotal backdrop where Yunusova actively participates as both an artist and educator. In discussing her approach to identity, Yunusova reveals, "My projects often carry a layer of irony and paradox, occasionally pushing them to the point of absurdity. This deliberate choice allows me to explore diverse facets of my identity, deftly navigating the intricate crossroads of cultures. This exploration is informed by my rich multicultural experiences and the profound impact of varying ideologies."

Yunusova rejects conventional storytelling methods, opting instead to scrutinise identity by manipulating materials associated with Uzbek culture. While the Western consciousness often associates Uzbekistan with 'traditional' forms of decorative art such as embroideries and textiles, Yunusova challenges these perceptions. Prominent among her recurring motifs are the distinct ikat patterns and suzanne embroideries. These symbols carry profound significance, serving as powerful representations of Uzbek culture and inviting a deeper exploration into the theme of the exploitation of exoticisation, which occasionally evolves into a commodity, fetishised by artists, curators, and critics alike.

The Uzbek Fairytale painting series serves as a vivid illustration of this narrative, seamlessly extending from the POV: my daily session project. This project delves into the question of sacrifices an individual makes under the pressure of societal conformity. In a video, the artist introduces a character of the Bride, engaging in a Q&A format while simultaneously reenacting her wedding makeup application. Her journey unfolds as she navigates the complexities of matrimony—a symbolic unlocking of new possibilities. Delving into the cultural customs surrounding dowry and inheritance in Central Asia, the artist critically examines the issues entwined with these social practices. By incorporating objects from her cultural heritage alongside internet sayings, Yunusova offers a nuanced perspective on the intersection of authenticity and artifice in human existence. The installation seamlessly blends autobiographical elements with a critical examination of Uzbekistan's heritage, fostering a thought-provoking dialogue on identity and societal norms. Employing a realistic style bordering on the surreal, the artist visually accentuates the expectations and oriental fantasies embedded in the post-colonial heritage of Central Asia. This artistic approach serves as a commentary on the cultural complexities and societal expectations surrounding traditions in the region.

Frequently positioning herself as a model or embodying diverse roles in the realm of online content creation, Yunusova engages in her own hybrid transformations, adopting new personas through video self-portraits and immersing herself in various subcultures, mirroring their attire, gestures, and appearances.

The digital performance #SugarMacht, created for the Frankfurter Kunstverein in 2021, was initiated on Instagram and extended into the physical exhibition space. Yunusova drew inspiration from prevailing aesthetics in social media, incorporating elements like purple light, the ubiquitous ring light for enhanced self-portraits, and the intimate ambience of a bedroom. The bed became a stage, ostensibly presenting the artist's private sphere for public consumption. An overhead neon sign with the hashtag #SugarMacht beckoned visitors to actively participate in the performance, inviting them to become integral parts of Yunusova's total installation. Yunusova sheds light on the playful nature of social media (#Sugar) while unveiling the mechanisms behind trend dissemination and the formation of collective identity (#Power – in German #Macht). The hashtag #SugarMacht encapsulates the dual nature of social media, revealing both its allure and its potential pitfalls. Yunusova explains, “I don't prescribe myself a specific mission, but I vividly convey irony and draw connections between various phenomena and symbols. My focus lies in observing life, discerning flaws in the system, and bringing them to the forefront, all while contemplating the inherent challenges in attaining certain desires.”

One of the systems that Yunusova examines is the Soviet Union and the enduring impacts of its structures. She delves into the multiplicities of postcolonial landscapes and the post-Soviet legacy. As a member of the collective "Beyond the post-Soviet," Yunusova contributes to the generation and dissemination of knowledge pertaining to regions previously categorised as 'post-socialist' countries. In explaining her interest in postcolonial studies, Yunusova comments, "My fascination with this field stems from my personal journey and multicultural background. Raised in the Soviet legacy of a young Uzbekistan, my subsequent move to the 'Center of the Empire'— Moscow—exposed me to firsthand experiences of paradoxical situations. Only by distancing myself from this context and relocating to Germany was I able to critically explore this heritage."

Faina Yunusova's most recent exhibition, The Embassy of Mirrors, took place at the Cité internationale des arts in Paris (2023 -2024). This exhibition marked the inaugural instalment of the embassy of, a series of self-organised gatherings, exhibitions and conversations curated by Sasha Baydal.

Drawing inspiration from her memories and integrating found as well as AI-generated images, Yunusova constructed a multi-layered space, which served not only as a picturesque backdrop for photography but also functioned as a realm for reevaluating clichéd representations.

Yunusova says, "A context is an indispensable tool in my practice. The display environment of my works imparts a specific meaning, enabling me to convey provocative messages. However, it also complicates the process of communicating ideas, as some projects are crafted within distinct cultural situations, making them challenging to grasp without an understanding of the surrounding background."

At the core of the exhibition The Embassy of Mirrors was Yunusova's Monumental Painting (2023), a work in which she methodically deconstructed various roles seemingly imposed upon her—both by her cultural heritage and the pervasive, globalised norms of online representation. Employing the conventions of monumental paintings, Yunusova unveils and dramatises hidden histories and present realities. Through the strategic juxtaposition of diverse media and cultural references, she confronts the challenges of discovering one's place and maintaining artistic autonomy within the complex system of image production and societal expectations.