During the residence, the subject of Zhenya Machneva's research were wooden houses located close to the Shishim Hill. They evoke nostalgia and turn into a sort of hybrid fabulous monsters, having lost the ability to be comfortable housing. Their texture attracts, but they can only live if someone vouches for them.

While building relationship with these houses, Zhenya tries on the most familiar role - the archivist of the passing. By means of graphics and weaving, she preserves faces made of logs, planks, carved platbands and scraps of paint. Thus, the "Translation game" held at the residence turned amateur photographs of neighboring houses into integral graphic images.

Functional irrelevance permeates all the founding structures of these buildings. Zhenya seems to be performing an act of liberating beauty, and the impossibility of action becomes just a subtle frame. What is important is the gesture of aesthetic appropriation, living the experience of a house. So, in the performance held at the residence, the artist uses an old loom as a frame and a house, placing herself and all the weaving accessories inside.

In the end of the residence, Zhenya creates a model of a future installation, in which the loom is transformed into an roomy perimeter for a future large-scale installation, in which the decay of wood that once used to be a house is captured through subtle color transitions in a woven fabric.