I can't help but think that they are an improved version of the world of commercial reality aimed at children. Growing up surrounded by standards of beauty and conventional aesthetics, children should rather have power animals, imperfectly shaped role models.
Despite this, the actual models for Anoschkin's sculptures are found in the world of toys, ornaments and souvenirs. Anoschkin does not derive ideas for her artworks from biology books. Her sculptures don't have species-appropriate characteristics, and a donkey might bear more resemblance to the souvenirs sold at Turkish tourist bazaars than the actual animal. In effect, what she portrays is the image of animals constructed by humans. What is exceptionally interesting in this meta-illustration of animals is that she emphasizes the most awkward characteristics of the man-made animal image, the disproportionate scale and the colour palette detached from reality. In doing so, she laughs at stereotypes and takes the step that the toy industry is afraid to take. She bravely leaps over the standardizing reductions, effortlessly bypassing the Barbie aesthetics. At the same time, Anoschkin reminds us that estrangement also lives within ourselves; we can never completely know ourselves, but identification teaches us to also understand ourselves and our prejudices. Prejudices aimed at not just others but also ourselves. The experience of otherness can be fatal, if tolerance for difference hasn't been allowed to develop.
Anoschkin has created a world more naïvistic than the works of some of the self-proclaimed naïve artists. Her artworks are more genuine and frank, with no attempts to woo the public. It is in this sincerity that they manage to seduce their viewers.
There is a saying about 'wisdom from the mouths of babes'. Compared to naïve art, outsider art is appreciated in visual arts expressly for its honesty. Honesty is also Anoschkin's trump card. The spontaneity that she has managed to preserve in her art is related to outsider art's straightforwardness. The artworks are not ironic, conceptual nor affected.
Nevertheless, the artworks are not hovering in a vacuum. Even though Anoschkin's world is autonomous, its points of convergence with the history of sculpture, pop art and expressionism are evident. Anoschkin is particularly noteworthy due to her being able to simultaneously utilize art history and break its conventions.
In terms of storytelling, the most interesting element is how she shapes her own themes and topics. In twenty years, individual artworks have grown into a world, a gesamtkunstwerk, where each piece is part of a gradually emerging story. And this story has no beginning nor end; it is rather a mosaic, a fragmented novel ruled by magic realism.