Lady Lika Palm Jumeirah (24, Frau) - Escort in Dubai
✓ videoverifiziert seit Dec 2025
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Lady Lika Palm Jumeirah, Alter 24+ heute Verfügbar
Dubai / VAE
Letzter Login: heute
Letzter Login: heute
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Daten
- Art: unabhängiger Escort
- Geschlecht: Frau
- Sexuelle Orient.: Heterosexuell
- Rauchen: Nichtraucher
- Größe: 170 cm
- BH Größe: 75B
- Ethnische Herkunft: osteuropäisch
- Nationalität: Russisch
- Figur: schlanke Figur
- Haarfarbe: blonde Haare
- Augenfarbe: grüne Augen
- Intimrasur: komplette Intimrasur
- Sprache(n): spricht Russisch und Englisch, Französisch, Deutsch, Spanisch
- Erfahrung: 3 Jahre Erfahrungen
- Escort Duo Angebot (auf Anfrage)
Das Honorar
1500 USD pro halbe Stunde
1500 USD pro Stunde
5000 USD für einen ganzen Tag.
1500 USD pro Stunde
5000 USD für einen ganzen Tag.
Zahlungsarten
Bargeld, Kreditkarten, Überweisung, Paypal
Treffen mit
einem Mann
Verfügbar für
Incall - empfängt Besuch, Outcall - zB im Hotel
Lady Lika Palm Jumeirah mag
alkoholfreie Getränke, Champagner, japanische Küche, spanische Küche, französische Küche, italienische Küche, Rosen, Bücher, Konzerte, Musicals, Oper, Ballett
Lady Lika Palm Jumeirah mag außerdem
DOM
Über Lady Lika Palm Jumeirah
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My naughty little art lovers,
You’ve been asking for it for a long time - and now it has finally happened. I’ve moved a little closer to you.
My new home for the next three years is on Palm Jumeirah, Dubai, Frond P - closer to those who admire my art and want to experience its power for themselves.
This year, I’m taking my art studio to another level. I’m expanding my collection of paints, brushes, professional tools, and art materials, and creating a more professional space where I can experiment with new techniques, textures, materials, and ideas.
This gives me even more freedom to create something specifically for you. Whatever you have in mind, bring your idea to me. Tell me what you desire - then leave it in my hands. From different materials and textures to unusual techniques and completely unconventional ideas - almost anything you can imagine can become part of your painting. If you can imagine it, I can turn it into a painting.
My prices remain unchanged this year:
A 60 × 90 cm artwork - AED 6,000
Created in approximately 2 hours.
Smaller and larger paintings are available upon request.
So come closer. Step into my world and let my paintings take control of your attention, your imagination, and your senses. Don’t simply look at them - surrender to them.
If you’re new here and don’t yet know who I am or what my art is about, read the text below and discover my world.
Still curious? Contact me. I might satisfy your curiosity.
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ABOUT ME
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👩🏼🎨 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 my everyday 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 also recently started my YouTube channel, where I regularly share videos from my life on Palm Jumeirah, my paintings, and behind-the-scenes moments from my creative process.
I am completely independent. I do not work with galleries, agencies, managers or representatives. You always communicate directly with me. Everything you read here is written and provided personally by me, and I manage all of 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, Monaco, for four years). Investing is one of my personal interests - I invest in stocks and build and manage my own investment portfolio. I chose not to pursue a financial advisory or investment management licence, as my professional focus is now on 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 investment 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 color 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 want to know what else I like, what inspires me and what else I can do - contact me. There is always more to discover.
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ABOUT YOU
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💚 WE HAVE A MATCH:
We have a match if you are decisive, know what you want and prefer actions over endless messages. You appreciate art, understand my paintings and recognize the value of quality, professionalism, experience and education.
You communicate respectfully, can come to Palm Jumeirah and have no problem sharing your live location when requested. You treat me like your Queen rather than someone who takes orders. You may tell me your preferences in art - but when it comes to my work, my studio and organizational matters, I remain in control.
You understand that individually created art, professional materials, experience, time and education have value. You know that 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. In the art world, the same principle applies: the price of a painting reflects not only the physical artwork itself, but also the artist’s name, status, recognition and established reputation. As an artist’s status rises, so does the value attached to their artwork.
An established, high-status artist with a strong and credible reputation does not need to chase buyers, sell to just anyone, or lower the price of their artwork simply to make a sale. If someone cannot afford the artwork, the answer is not to make the artwork cheaper until they can.
And being able to afford the price does not automatically entitle someone to the artwork. An established artist can be selective about who becomes their collector. If you want to own one of my paintings, being able to pay for it 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 a 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.
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❌ 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 taking action; if you are a photo collector, a time-waster, simply curious with no intention of purchasing my art, or looking for 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 that every detail be confirmed repeatedly through messages, push conversations into unnecessarily explicit territory, or communicate in a rude or manipulative way.
We are definitely not a match if you try to dominate me, give me orders, tell me what I should do or expect me to obey you. 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 working within that price range, and you are free to choose them. Different artists exist for different collectors, expectations and budgets. My work is intended for those who understand its value.
Any attempt at blackmail, extortion, intimidation, manipulation or malicious collection of personal information will result in immediate blocking.
And one very simple personal rule: if you tell me to “relax,” “chill out,” we definitely don’t have a match.
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💵PRICE:
💵Artwork created by the artist over approximately 2 hours - 6,000 AED.
6,000 AED ≈ 1,634 USD ≈ 1,634 USDT ≈ 1,409 EUR ≈ 1,218 GBP ≈ 1,298 CHF ≈ 6,126 SAR ≈ 5,955 QAR ≈ 505 KWD
💵Artwork created by the artist over approximately 12 hours - 20,000 AED.
20,000 AED ≈ 5,445 USD ≈ 5,445 USDT ≈ 4,697 EUR ≈ 4,061 GBP ≈ 4,327 CHF ≈ 20,421 SAR ≈ 19,850 QAR ≈ 1,682 KWD
💵Collector’s Weekend Programme - 50,000 AED.
Designed for collectors who prefer an extended introduction to the artist, her work, philosophy and creative process before making acquisition decisions.
50,000 AED ≈ 13,613 USD ≈ 13,613 USDT ≈ 11,742 EUR ≈ 10,153 GBP ≈ 10,818 CHF ≈ 51,053 SAR ≈ 49,625 QAR ≈ 4,205 KWD
Smaller and larger paintings are available upon request. Special requests and bespoke arrangements are considered on a case-by-case basis and are discussed exclusively during a personal meeting on Palm Jumeirah, Dubai, not through messages.
Every man finds the style of art that aligns with what he secretly 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, creative process, experience and the education that shaped me as both a person and an artist. Collectors who value quality, individuality, expertise and education usually understand why individually created art cannot be the cheapest option.
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💳PAYMENT METHODS:
Visa, Mastercard, Amex, Apple Pay, Google Pay, USDT (TRC-20).
Invoices are provided upon request.
I maintain a business account with Emirates Islamic Bank.
Other payment methods upon request.
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📍 LOCATION:
📍 Frond P, Palm Jumeirah, Dubai, UAE
I am staying in Dubai throughout this year and will not be travelling outside the city, so my studio is available for private art viewings all year round.
Guest parking is available.
If you’re curious to see my paintings with your own eyes, contact me.
The exact location of my studio and my live location will be provided upon request. I will also ask you to share your live location with me for one hour, so I can prepare the paintings for your viewing.
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📸 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
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🎨 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 tools to create my artworks.
In my painting process, the body becomes a tool, materials become language, and movement becomes expression. I work with unconventional materials and artistic 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.
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👩🏼🎓 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 (I was born in Siberia, Russia. I lived for several years in Tenerife, Spain, and for 4 years in Monte Carlo, Monaco. I have been living 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.
Personality type: INTJ-A (Myers-Briggs).
Marital status: Single, antinatalist. I never want to get married or have human children. I’m happy living alone with my two cats.
Social philosophy: Gynocentrism.
What I like: Painting, reading books, psychology, discussing philosophy, discussing investments, watching movies and TV series, managing my IBKR stock investment portfolio, cats, decorating my apartment, high-quality and organic food, especially Japanese A5 Wagyu and Scottish raspberries from Spinneys, communicating with smart, 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, and performative social behavior.
What I value: Personal freedom, intelligence, honesty, privacy, and respect for boundaries.
What I avoid: Social conformity, small talk, emotional manipulation, unnecessary obligations, performative relationships, 9-to-5 office work, and intermediaries in my work (managers, agencies, and galleries).
My priorities: Freedom, autonomy, intellectual development, financial independence, and 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; neighbors from Palm Jumeirah.
I’m not looking for: A boyfriend, husband, visa sponsor (my visa is self-sponsored), an employer (I’m not looking for an office job), someone to provide me with a place to live (I rent an apartment myself, and both my Ejari and DEWA accounts are in my own name), a man to clean my apartment (I have a maid), any kind of sugar relationship, a man looking for a lifestyle painter who will paint for him for free, people looking for free entertainment through chatting, or people with very limited financial means as art collectors.
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❓ 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 rather than endless messages.
I do not encourage excessively explicit, rude or unnecessarily prolonged chats. Please be respectful in your messages. Detailed questions about my work and certain subjects are simply better discussed naturally during a personal meeting.
A personal meeting does not oblige you to purchase anything. No prepayment is required. If, after meeting me and seeing my work, you decide that my art is not for you, there is no obligation to proceed.
Initial consultation is free of charge.
If you are already on Palm Jumeirah and would like additional verification before coming, I can provide a brief video call upon request after you share your live location confirming that you are on Palm Jumeirah.
For security reasons, I do not provide video calls to anyone who is not physically present on Palm Jumeirah.
❌ No prepayment required
❌ No ID required
❌ No recommendations required
❌ No appointment necessary
✅ Verification video call available exclusively for those currently on Palm Jumeirah.
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☎ CONTACT:
I prefer communication through Telegram or Instagram or Signal. If you do not use Telegram or Instagram, you may contact me via WhatsApp to continue our conversation.
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🥷🏻 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 to be treated as strictly confidential and subject to mutual non-disclosure (NDA) principles.
No confidential information should be disclosed, reproduced, distributed, published or shared with any third party without the prior consent of the other party.
These confidentiality and non-disclosure expectations apply mutually to both parties.
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🚕EXTERNAL ART CONSULTATIONS:
Some collectors prefer me to 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 and confirmed collectors.
✅ FULL PREPAYMENT is required for external consultations outside Palm Jumeirah, Dubai, UAE.
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⏱ ARE YOU AVAILABLE?
You do not need to contact me simply to ask if I am available.
You can check my availability directly in my online calendar:
https://6000.simplybook.it
Open the calendar and select your preferred date. You will see the available and unavailable times:
🟢 Green - available
🔴 Red - unavailable
No payment is required to make a booking. 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 that we may be a good match, simply choose your preferred time and make a booking.
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?
Share your live location to confirm that you are currently 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 I feel 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 and 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 good match, you can book your preferred time.
ART CONSULTATION
The Art Consultation is free and gives us an opportunity to meet personally, discuss your interests and preferences, and decide whether we would like to proceed further.
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 will result in the phone number being blocked.
By making a booking, you confirm that you have read, understood, and agreed to the Terms & Conditions stated in this advertisement.
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💎 REGULAR COLLECTORS
If someone tells me that 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 my work even more, and to show that appreciation through their effort and tips.
The same applies to someone who has never purchased anything from me before. 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.
It is important to remember that the choice works both ways. It is not only about whether a person wants to continue buying and collecting my art - I am also choosing whether I want to continue creating art for that person.
Being a regular collector is therefore not a one-sided privilege that creates additional demands on my time, attention, or pricing.
A long-term relationship between an artist and a collector has to work for both sides and should be based on **mutual respect, appreciation, generosity, and value.**
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❤🩹 SECOND CHANCE POLICY
Anyone who communicates with me disrespectfully, wastes my time, ignores my boundaries, or behaves in a way I consider unacceptable will be blocked.
If you have been blocked and want me to unblock your number and continue communicating with you, the unblock fee is AED 6,000.
To pay the unblock fee, contact me from a different number and tell me which phone number you want me to unblock.
After the AED 6,000 unblock fee is paid, I will unblock the specified number and communication can continue.
If you behave disrespectfully again, you will be blocked again. A new AED 6,000 unblock fee will be required each time you want your number to be unblocked.
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👥 FRIENDSHIP & SHARED ACTIVITIES
If an art collector would also like to spend time together as friends outside of anything related to art, I am open to that.
Dubai has plenty of interesting experiences we could enjoy together - fine dining and Michelin-starred restaurants, dinner shows, beach clubs and private cabanas, yacht trips, helicopter flights over Palm Jumeirah, desert experiences and horse riding, fishing and BBQ, scuba diving, motorsport, golf, kitesurfing, sunset picnics, private zoo experiences, dinner cruises, and other unusual activities.
If this is something of interest, simply say that the intention is to spend some time together as friends, and I can send my full list of activities and experiences I would be happy to share.
Please note: when someone invites me to a shared activity, I expect the person extending the invitation to arrange and cover the expenses for both of us.
Time spent together as friends is completely separate from my art. It is not a payment toward an artwork and does not create any obligation for me to sell, create, discount, or provide any artwork in return.
It is simply an opportunity to enjoy an interesting experience together and maintain a friendly relationship outside of art.
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MANIPULATORS & PICK-UP ARTISTS WILL BE BLOCKED
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1. A first type of manipulation is when a man says: “Give me a better price on the first painting, prove to me how well you can paint, make sure I really like it, and then I’ll become a regular collector and pay the standard price next time.”
My response to such men is simple: Asking for a discount is not the problem. The problem is manipulation: using a false promise about the future to get better terms from me 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.
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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, and 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 to such men is simple: I recognize this manipulation immediately: the possibility of a future purchase or visit is being used to get free personal conversation and entertainment. I do not audition, persuade, entertain, or spend my valuable time proving myself to strangers. If someone wants to communicate with me personally, they can purchase my art or choose one of my separate activities for spending time together as friends. Trying to make hours of free conversation a condition for a hypothetical future purchase or visit is manipulation. Such people will be blocked.
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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 don’t understand anything. Explain everything to me, 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 to such men is simple: I do not offer free educational courses for people without experience in art. If someone wants to educate themselves, they can use Google or ChatGPT, or find someone who offers paid educational courses. Being inexperienced does not entitle anyone to hours of individual explanations or unlimited personal attention. A hypothetical future purchase is not a reason for me to provide hours of free personal guidance. Such people will be blocked.
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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 to such men 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 at a young age, it makes far more sense to work hard and build a future than to spend time searching online for things one cannot afford and asking their creators to reduce their prices. Someone’s age, income, or personal circumstances are not a reason for me to reduce the value of my work by 90%. Such people will be blocked.
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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 you to offer me the same price.”
My response to such men 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 comparison to claim that my work is not worth its price. There are professionals at every price level, from free or extremely inexpensive to exceptionally expensive, and everyone is free to choose within their own budget. If someone genuinely cannot see or understand what makes one person’s work worth ten times more than another’s, they should simply choose the cheaper option. But their inability to recognize the difference does not mean the difference does not exist.
Someone can look at a diamond, mistake it for glass, and offer the price of glass - but their lack of experience in recognizing a diamond does not turn a diamond into glass. The same principle applies to art: an original Van Gogh can have millions of copies and reproductions, and even someone holding a paintbrush for the first time can attempt to reproduce it. Those copies may be worth almost nothing, but their existence does not reduce the value of the original to the price of an amateur reproduction. Value is not determined by the cheapest imitation someone can find online.
Trying to use a much cheaper alternative to devalue my work by 90% is not reasonable negotiation; it is manipulation and disrespect. Such people will be blocked.
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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 to purchase your artwork, 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 to such men is simple: I have no problem agreeing to answer the remaining questions about an artwork in person without requiring prepayment. However, no prepayment means no advance investment of my time, attention, or emotional energy. If someone wants significant attention before the purchase, a prepayment is required. Otherwise, nobody should expect hours of messaging, personal questions, explanations, entertainment, or special preparations based solely on a promise to buy later.
Based on 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 people 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 while on the way. 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.
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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 a professional. 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 that 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 that 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 considered a waste of their time, while hours of messaging are not considered 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 that I am a professional, they should first prove that they are a serious buyer. Once there is a financial commitment, I am happy to answer questions and discuss additional details. Anyone who tries to turn 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 gain access to my art. People contact me because they have already decided that I am the professional they want, and I decide whom I want to create for.
Anyone who continues trying to manipulate me with demands to “prove that you are a professional” without either an in-person meeting or a financial commitment will be blocked.
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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 to receive an artist’s creative work for free. According to this logic, the artist should pay for the 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 arrangement “authenticity.” Very convenient.
I do not prove that I am a “real artist” by providing my work or my time as an artist for free. Choosing art as a lifestyle does not create an obligation to provide it to other people 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 make anyone else entitled to what I create.
There is no logical reason why art suddenly becomes more “real” when someone receives it for free and somehow becomes an “act” when the artist is paid. A price does not make art less authentic. It simply means that the person who wants the artist’s work is expected to contribute financially instead of expecting the artist to carry every cost themselves.
Calling an artist “not real,” “not genuine,” or “just an actress” does not prove anything about the artist. It is an attempt to provoke them into defending their authenticity by giving away their creative work or their time as an artist 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 that 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 my time as an artist for free will be blocked.
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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: attempting to shame someone for charging for what they create, while simultaneously wanting to receive the result of that creation. The purpose is obvious - if the artist can be embarrassed into proving that they “have enough money,” the person applying the pressure hopes that 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 who are so poor that they cannot even afford a coffee.” Obviously, being able to afford your own coffee does not mean that the person who invited you should suddenly expect you to pay for it yourself just to prove that you have money. In exactly the same way, being able to afford my own materials, tools, and lifestyle does not mean that I should give my art away for free just to prove that I can afford to do so.
I do not charge for my art because I need someone to rescue me financially. I charge because my art has a price. Whether I personally have one dirham or one billion dirhams would not change that principle. A buyer pays because they want something I create - not because they have conducted an assessment of my bank balance and decided whether I “deserve” to be paid.
Calling an artist “poor,” “a beggar,” or implying that accepting payment demonstrates financial need does not make the argument stronger. 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 that 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 for my art, or calls me “poor” or “a beggar” in an attempt to get what they want for free, will be blocked.
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10. A tenth type of manipulation is when a man says: “I do not understand what art or painting means. Explain everything to me 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 with you 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 also 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 spending 15-30 minutes travelling to Palm Jumeirah an unacceptable “waste of time,” while expecting me to spend my time providing 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 someone that 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 amount of effort is considered too much, there is nothing further to discuss. Anyone who describes coming to Palm Jumeirah to discuss my art as a potential “waste of time,” while expecting unlimited explanations from me in messages first, will be blocked.
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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 to such men is simple: The problem is not that I am unable to 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 by giving me orders.
Second, this attitude assumes that their time is more valuable than mine. They do not want to spend several minutes reading information that I have already taken the time to prepare, but they expect me to spend my time repeating it individually for their convenience. Their unwillingness to spend their own time does not create an obligation for me to spend mine.
Third, refusing to make even the smallest effort to learn about me tells me something about the seriousness of the enquiry. Someone genuinely interested in me will normally 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 even reading the information already available is not genuinely choosing me - they are looking for 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 multiple 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 what my terms are, but pretends not to know and asks me to repeat everything in private messages. They may assume that the advertisement, website or profile was written or managed by an assistant, manager or agent, and hope that by asking me directly they might somehow receive different terms - perhaps even a price ten times lower than the one already 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 if someone has financial limitations. There is nothing wrong with honestly saying that something is outside your budget or politely asking whether another option is available. Financial limitations are not the problem. Dishonesty is.
I have already provided detailed information that answers approximately 99% of the questions people usually ask before contacting me. I wrote it specifically so that I would not have to repeat the same information individually to everyone who messages me.
I answer all the messages I receive myself. I do not have a 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 are receiving 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 to be individually 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, then 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 already seen, gives me instructions 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 in an attempt to obtain better terms will be blocked immediately, without the possibility of a second chance.
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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 you with hundreds of artists willing to create one. You can compare portfolios, prices and conditions and choose whoever offers you the best deal. Someone may even be willing to 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 against one another 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 particularly 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 want to 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 identity of the artist as important enough to contact me specifically, while treating the artist as interchangeable the moment you want to negotiate the conditions.
If you want something specifically from me, I expect enough genuine interest to know who 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 much 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 in order to “win” them as a buyer, will be blocked.
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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: criticizing 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 behavior 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 does not like 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.
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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 that my painting should cost less or that they should receive much more artwork for the same money.
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.
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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.
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 gives them authority over me will simply be refused and blocked.
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16. A sixteenth type of manipulation is when a man says: “It’s my first time buying a painting from you. What if I don’t like it? Give me a much lower price for the first one, so at least I won’t lose much money if I don’t like it.”
This is manipulation because the buyer is trying to make me take the financial risk of his own decision. He wants the same work, the same time, the same experience and the same quality, but wants to pay much less simply because he is not sure whether he will like the first painting he buys from me. In other words, he wants to protect himself from losing money by asking me to lose money instead.
My response to such men is simple: The fact that this is the first time someone is buying a painting from me, and they are not sure whether they will like it, is not a reason for my price to suddenly become lower.
Anyone who uses “it’s my first painting from you,” “what if I don’t like the final result,” or “I don’t want to lose money on the artwork if I don’t like the final result” to pressure me into lowering the price of my work is trying to transfer the financial risk of their own decision onto me. This is manipulation. Such people will be blocked.
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17. A seventeenth type of manipulation is when a man says: “I only need a simple abstract painting. What is there to do anyway? Just splash some paint and that’s it. Let other people pay the full price if they want something complicated. I’m not going to pay the full price for something so simple.”
This is manipulation because the person first decides that what he wants is simple and has little value, and then uses his own opinion as an argument for why its price should be lower. He wants something from me while simultaneously trying to convince me that what he wants is barely worth anything. It is a very convenient strategy: first devalue what someone wants to get, and then use that devaluation as a tool to negotiate the price down.
My response to such men is simple: if what I do really is “just splashing some paint,” there is absolutely no reason to come to me for it. Anyone can buy some paint and do it themselves. If the result is genuinely equal to mine, the problem is solved and there is no reason to pay me at all.
Anyone who uses “I’m not paying the full price for something so simple” or “what is there to do - just splash some paint” to devalue my work and pressure me into lowering my established price is creating an artificial argument for why something he wants should cost him less. This is manipulation. Such people will be blocked.
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18. An eighteenth type of manipulation is when a man says: “I want to pay much less, but I don’t want a smaller painting. I want the same size, the same amount of work and the same amount of your time, just for a much lower price. If paying less means getting a smaller painting, I’m not interested. I don’t want less. I want a discount.”
This is manipulation because the person is not asking for a cheaper option. He is asking for the full option at a reduced price. He wants the same painting, the same amount of my time and work, and the same result, while significantly reducing only what I receive in return.
My response is simple: a smaller budget does not make the same painting cheaper. In exceptional cases, entirely at my own discretion, I may offer a smaller painting requiring less of my time and work at a lower price. This is not a standard option, and it is not something a buyer can request or expect.
Anyone who says “I want to pay less, but I don’t want you to spend less time creating a smaller painting,” “I want the same thing, just cheaper,” or “I want a discount without reducing the amount of your time and work” is not asking for a cheaper option. They are asking me to take the financial loss so they can receive more than they are willing to pay for. This is manipulation. Such people will be blocked.
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19. A nineteenth type of manipulation is when a man says: “You don’t have enough experience in painting for me to pay your full price. You probably haven’t tried this or that yet. Give me a discount the first time and prove that you have enough experience to do it. Then I can decide whether your experience is sufficient. Why should I pay the full price before you prove it to me?”
This is manipulation because experience can be turned into an excuse for demanding a discount at absolutely any stage. If someone has little experience: “You’re inexperienced, so you should charge less.” If they have several years: “That’s still not enough, so you should charge less.” And once they have decades of experience, the argument can simply be reversed: “You’ve been doing this for too long. Your approach is outdated, you’ve lost the fresh perspective of a younger person, so you should charge less.”
Anyone who says “You don’t have enough experience in painting, that is why I will pay less,” “You haven’t tried painting this yet, that is why I will pay less,” “Give me a discount for the first painting so I can see whether you have enough experience,” or uses any similar argument to justify paying less for my artwork is using my experience and their own uncertainty as bargaining tools. This is manipulation. Such people will be blocked.
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How Not to Be Blocked
If someone contacts me from another number asking, “Why did you block me?”, these are the most common reasons why I block contacts. If someone does not want to be blocked, they should simply avoid these behaviors:
Rudeness, disrespect, insults, lies, deception, attempted blackmail, threats, manipulation, scams, attempted payment fraud, spam, mass messaging, attempts to take a dominant position over me, fake bookings, no-shows, fake promises, attempts to obtain free attention or entertainment through endless messaging, deliberately wasting my time, pressuring me to justify or prove my professionalism, asking me to reduce my price by ten times or claiming that my work should cost ten times less, or repeatedly ignoring the information and rules provided in my advertisement.
If someone does not want to be blocked, the simplest solution is to communicate respectfully, honestly, and without manipulation or lies. If any of the behaviors listed above are noticed, the person will be blocked immediately.
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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.
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📄 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.
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💬 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 the exact time I can be on Palm Jumeirah: (insert time)."
These are not merely words. They are keys. The right words open the right doors.
My naughty little art lovers,
You’ve been asking for it for a long time - and now it has finally happened. I’ve moved a little closer to you.
My new home for the next three years is on Palm Jumeirah, Dubai, Frond P - closer to those who admire my art and want to experience its power for themselves.
This year, I’m taking my art studio to another level. I’m expanding my collection of paints, brushes, professional tools, and art materials, and creating a more professional space where I can experiment with new techniques, textures, materials, and ideas.
This gives me even more freedom to create something specifically for you. Whatever you have in mind, bring your idea to me. Tell me what you desire - then leave it in my hands. From different materials and textures to unusual techniques and completely unconventional ideas - almost anything you can imagine can become part of your painting. If you can imagine it, I can turn it into a painting.
My prices remain unchanged this year:
A 60 × 90 cm artwork - AED 6,000
Created in approximately 2 hours.
Smaller and larger paintings are available upon request.
So come closer. Step into my world and let my paintings take control of your attention, your imagination, and your senses. Don’t simply look at them - surrender to them.
If you’re new here and don’t yet know who I am or what my art is about, read the text below and discover my world.
Still curious? Contact me. I might satisfy your curiosity.
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ABOUT ME
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👩🏼🎨 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 my everyday 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 also recently started my YouTube channel, where I regularly share videos from my life on Palm Jumeirah, my paintings, and behind-the-scenes moments from my creative process.
I am completely independent. I do not work with galleries, agencies, managers or representatives. You always communicate directly with me. Everything you read here is written and provided personally by me, and I manage all of 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, Monaco, for four years). Investing is one of my personal interests - I invest in stocks and build and manage my own investment portfolio. I chose not to pursue a financial advisory or investment management licence, as my professional focus is now on 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 investment 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 color 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 want to know what else I like, what inspires me and what else I can do - contact me. There is always more to discover.
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ABOUT YOU
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💚 WE HAVE A MATCH:
We have a match if you are decisive, know what you want and prefer actions over endless messages. You appreciate art, understand my paintings and recognize the value of quality, professionalism, experience and education.
You communicate respectfully, can come to Palm Jumeirah and have no problem sharing your live location when requested. You treat me like your Queen rather than someone who takes orders. You may tell me your preferences in art - but when it comes to my work, my studio and organizational matters, I remain in control.
You understand that individually created art, professional materials, experience, time and education have value. You know that 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. In the art world, the same principle applies: the price of a painting reflects not only the physical artwork itself, but also the artist’s name, status, recognition and established reputation. As an artist’s status rises, so does the value attached to their artwork.
An established, high-status artist with a strong and credible reputation does not need to chase buyers, sell to just anyone, or lower the price of their artwork simply to make a sale. If someone cannot afford the artwork, the answer is not to make the artwork cheaper until they can.
And being able to afford the price does not automatically entitle someone to the artwork. An established artist can be selective about who becomes their collector. If you want to own one of my paintings, being able to pay for it 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 a 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.
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❌ 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 taking action; if you are a photo collector, a time-waster, simply curious with no intention of purchasing my art, or looking for 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 that every detail be confirmed repeatedly through messages, push conversations into unnecessarily explicit territory, or communicate in a rude or manipulative way.
We are definitely not a match if you try to dominate me, give me orders, tell me what I should do or expect me to obey you. 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 working within that price range, and you are free to choose them. Different artists exist for different collectors, expectations and budgets. My work is intended for those who understand its value.
Any attempt at blackmail, extortion, intimidation, manipulation or malicious collection of personal information will result in immediate blocking.
And one very simple personal rule: if you tell me to “relax,” “chill out,” we definitely don’t have a match.
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💵PRICE:
💵Artwork created by the artist over approximately 2 hours - 6,000 AED.
6,000 AED ≈ 1,634 USD ≈ 1,634 USDT ≈ 1,409 EUR ≈ 1,218 GBP ≈ 1,298 CHF ≈ 6,126 SAR ≈ 5,955 QAR ≈ 505 KWD
💵Artwork created by the artist over approximately 12 hours - 20,000 AED.
20,000 AED ≈ 5,445 USD ≈ 5,445 USDT ≈ 4,697 EUR ≈ 4,061 GBP ≈ 4,327 CHF ≈ 20,421 SAR ≈ 19,850 QAR ≈ 1,682 KWD
💵Collector’s Weekend Programme - 50,000 AED.
Designed for collectors who prefer an extended introduction to the artist, her work, philosophy and creative process before making acquisition decisions.
50,000 AED ≈ 13,613 USD ≈ 13,613 USDT ≈ 11,742 EUR ≈ 10,153 GBP ≈ 10,818 CHF ≈ 51,053 SAR ≈ 49,625 QAR ≈ 4,205 KWD
Smaller and larger paintings are available upon request. Special requests and bespoke arrangements are considered on a case-by-case basis and are discussed exclusively during a personal meeting on Palm Jumeirah, Dubai, not through messages.
Every man finds the style of art that aligns with what he secretly 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, creative process, experience and the education that shaped me as both a person and an artist. Collectors who value quality, individuality, expertise and education usually understand why individually created art cannot be the cheapest option.
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💳PAYMENT METHODS:
Visa, Mastercard, Amex, Apple Pay, Google Pay, USDT (TRC-20).
Invoices are provided upon request.
I maintain a business account with Emirates Islamic Bank.
Other payment methods upon request.
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📍 LOCATION:
📍 Frond P, Palm Jumeirah, Dubai, UAE
I am staying in Dubai throughout this year and will not be travelling outside the city, so my studio is available for private art viewings all year round.
Guest parking is available.
If you’re curious to see my paintings with your own eyes, contact me.
The exact location of my studio and my live location will be provided upon request. I will also ask you to share your live location with me for one hour, so I can prepare the paintings for your viewing.
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📸 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
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🎨 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 tools to create my artworks.
In my painting process, the body becomes a tool, materials become language, and movement becomes expression. I work with unconventional materials and artistic 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.
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👩🏼🎓 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 (I was born in Siberia, Russia. I lived for several years in Tenerife, Spain, and for 4 years in Monte Carlo, Monaco. I have been living 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.
Personality type: INTJ-A (Myers-Briggs).
Marital status: Single, antinatalist. I never want to get married or have human children. I’m happy living alone with my two cats.
Social philosophy: Gynocentrism.
What I like: Painting, reading books, psychology, discussing philosophy, discussing investments, watching movies and TV series, managing my IBKR stock investment portfolio, cats, decorating my apartment, high-quality and organic food, especially Japanese A5 Wagyu and Scottish raspberries from Spinneys, communicating with smart, 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, and performative social behavior.
What I value: Personal freedom, intelligence, honesty, privacy, and respect for boundaries.
What I avoid: Social conformity, small talk, emotional manipulation, unnecessary obligations, performative relationships, 9-to-5 office work, and intermediaries in my work (managers, agencies, and galleries).
My priorities: Freedom, autonomy, intellectual development, financial independence, and 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; neighbors from Palm Jumeirah.
I’m not looking for: A boyfriend, husband, visa sponsor (my visa is self-sponsored), an employer (I’m not looking for an office job), someone to provide me with a place to live (I rent an apartment myself, and both my Ejari and DEWA accounts are in my own name), a man to clean my apartment (I have a maid), any kind of sugar relationship, a man looking for a lifestyle painter who will paint for him for free, people looking for free entertainment through chatting, or people with very limited financial means as art collectors.
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❓ 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 rather than endless messages.
I do not encourage excessively explicit, rude or unnecessarily prolonged chats. Please be respectful in your messages. Detailed questions about my work and certain subjects are simply better discussed naturally during a personal meeting.
A personal meeting does not oblige you to purchase anything. No prepayment is required. If, after meeting me and seeing my work, you decide that my art is not for you, there is no obligation to proceed.
Initial consultation is free of charge.
If you are already on Palm Jumeirah and would like additional verification before coming, I can provide a brief video call upon request after you share your live location confirming that you are on Palm Jumeirah.
For security reasons, I do not provide video calls to anyone who is not physically present on Palm Jumeirah.
❌ No prepayment required
❌ No ID required
❌ No recommendations required
❌ No appointment necessary
✅ Verification video call available exclusively for those currently on Palm Jumeirah.
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☎ CONTACT:
I prefer communication through Telegram or Instagram or Signal. If you do not use Telegram or Instagram, you may contact me via WhatsApp to continue our conversation.
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🥷🏻 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 to be treated as strictly confidential and subject to mutual non-disclosure (NDA) principles.
No confidential information should be disclosed, reproduced, distributed, published or shared with any third party without the prior consent of the other party.
These confidentiality and non-disclosure expectations apply mutually to both parties.
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🚕EXTERNAL ART CONSULTATIONS:
Some collectors prefer me to 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 and confirmed collectors.
✅ FULL PREPAYMENT is required for external consultations outside Palm Jumeirah, Dubai, UAE.
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⏱ ARE YOU AVAILABLE?
You do not need to contact me simply to ask if I am available.
You can check my availability directly in my online calendar:
https://6000.simplybook.it
Open the calendar and select your preferred date. You will see the available and unavailable times:
🟢 Green - available
🔴 Red - unavailable
No payment is required to make a booking. 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 that we may be a good match, simply choose your preferred time and make a booking.
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?
Share your live location to confirm that you are currently 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 I feel 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 and 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 good match, you can book your preferred time.
ART CONSULTATION
The Art Consultation is free and gives us an opportunity to meet personally, discuss your interests and preferences, and decide whether we would like to proceed further.
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 will result in the phone number being blocked.
By making a booking, you confirm that you have read, understood, and agreed to the Terms & Conditions stated in this advertisement.
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💎 REGULAR COLLECTORS
If someone tells me that 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 my work even more, and to show that appreciation through their effort and tips.
The same applies to someone who has never purchased anything from me before. 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.
It is important to remember that the choice works both ways. It is not only about whether a person wants to continue buying and collecting my art - I am also choosing whether I want to continue creating art for that person.
Being a regular collector is therefore not a one-sided privilege that creates additional demands on my time, attention, or pricing.
A long-term relationship between an artist and a collector has to work for both sides and should be based on **mutual respect, appreciation, generosity, and value.**
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❤🩹 SECOND CHANCE POLICY
Anyone who communicates with me disrespectfully, wastes my time, ignores my boundaries, or behaves in a way I consider unacceptable will be blocked.
If you have been blocked and want me to unblock your number and continue communicating with you, the unblock fee is AED 6,000.
To pay the unblock fee, contact me from a different number and tell me which phone number you want me to unblock.
After the AED 6,000 unblock fee is paid, I will unblock the specified number and communication can continue.
If you behave disrespectfully again, you will be blocked again. A new AED 6,000 unblock fee will be required each time you want your number to be unblocked.
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👥 FRIENDSHIP & SHARED ACTIVITIES
If an art collector would also like to spend time together as friends outside of anything related to art, I am open to that.
Dubai has plenty of interesting experiences we could enjoy together - fine dining and Michelin-starred restaurants, dinner shows, beach clubs and private cabanas, yacht trips, helicopter flights over Palm Jumeirah, desert experiences and horse riding, fishing and BBQ, scuba diving, motorsport, golf, kitesurfing, sunset picnics, private zoo experiences, dinner cruises, and other unusual activities.
If this is something of interest, simply say that the intention is to spend some time together as friends, and I can send my full list of activities and experiences I would be happy to share.
Please note: when someone invites me to a shared activity, I expect the person extending the invitation to arrange and cover the expenses for both of us.
Time spent together as friends is completely separate from my art. It is not a payment toward an artwork and does not create any obligation for me to sell, create, discount, or provide any artwork in return.
It is simply an opportunity to enjoy an interesting experience together and maintain a friendly relationship outside of art.
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MANIPULATORS & PICK-UP ARTISTS WILL BE BLOCKED
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1. A first type of manipulation is when a man says: “Give me a better price on the first painting, prove to me how well you can paint, make sure I really like it, and then I’ll become a regular collector and pay the standard price next time.”
My response to such men is simple: Asking for a discount is not the problem. The problem is manipulation: using a false promise about the future to get better terms from me 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.
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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, and 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 to such men is simple: I recognize this manipulation immediately: the possibility of a future purchase or visit is being used to get free personal conversation and entertainment. I do not audition, persuade, entertain, or spend my valuable time proving myself to strangers. If someone wants to communicate with me personally, they can purchase my art or choose one of my separate activities for spending time together as friends. Trying to make hours of free conversation a condition for a hypothetical future purchase or visit is manipulation. Such people will be blocked.
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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 don’t understand anything. Explain everything to me, 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 to such men is simple: I do not offer free educational courses for people without experience in art. If someone wants to educate themselves, they can use Google or ChatGPT, or find someone who offers paid educational courses. Being inexperienced does not entitle anyone to hours of individual explanations or unlimited personal attention. A hypothetical future purchase is not a reason for me to provide hours of free personal guidance. Such people will be blocked.
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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 to such men 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 at a young age, it makes far more sense to work hard and build a future than to spend time searching online for things one cannot afford and asking their creators to reduce their prices. Someone’s age, income, or personal circumstances are not a reason for me to reduce the value of my work by 90%. Such people will be blocked.
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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 you to offer me the same price.”
My response to such men 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 comparison to claim that my work is not worth its price. There are professionals at every price level, from free or extremely inexpensive to exceptionally expensive, and everyone is free to choose within their own budget. If someone genuinely cannot see or understand what makes one person’s work worth ten times more than another’s, they should simply choose the cheaper option. But their inability to recognize the difference does not mean the difference does not exist.
Someone can look at a diamond, mistake it for glass, and offer the price of glass - but their lack of experience in recognizing a diamond does not turn a diamond into glass. The same principle applies to art: an original Van Gogh can have millions of copies and reproductions, and even someone holding a paintbrush for the first time can attempt to reproduce it. Those copies may be worth almost nothing, but their existence does not reduce the value of the original to the price of an amateur reproduction. Value is not determined by the cheapest imitation someone can find online.
Trying to use a much cheaper alternative to devalue my work by 90% is not reasonable negotiation; it is manipulation and disrespect. Such people will be blocked.
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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 to purchase your artwork, 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 to such men is simple: I have no problem agreeing to answer the remaining questions about an artwork in person without requiring prepayment. However, no prepayment means no advance investment of my time, attention, or emotional energy. If someone wants significant attention before the purchase, a prepayment is required. Otherwise, nobody should expect hours of messaging, personal questions, explanations, entertainment, or special preparations based solely on a promise to buy later.
Based on 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 people 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 while on the way. 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.
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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 a professional. 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 that 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 that 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 considered a waste of their time, while hours of messaging are not considered 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 that I am a professional, they should first prove that they are a serious buyer. Once there is a financial commitment, I am happy to answer questions and discuss additional details. Anyone who tries to turn 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 gain access to my art. People contact me because they have already decided that I am the professional they want, and I decide whom I want to create for.
Anyone who continues trying to manipulate me with demands to “prove that you are a professional” without either an in-person meeting or a financial commitment will be blocked.
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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 to receive an artist’s creative work for free. According to this logic, the artist should pay for the 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 arrangement “authenticity.” Very convenient.
I do not prove that I am a “real artist” by providing my work or my time as an artist for free. Choosing art as a lifestyle does not create an obligation to provide it to other people 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 make anyone else entitled to what I create.
There is no logical reason why art suddenly becomes more “real” when someone receives it for free and somehow becomes an “act” when the artist is paid. A price does not make art less authentic. It simply means that the person who wants the artist’s work is expected to contribute financially instead of expecting the artist to carry every cost themselves.
Calling an artist “not real,” “not genuine,” or “just an actress” does not prove anything about the artist. It is an attempt to provoke them into defending their authenticity by giving away their creative work or their time as an artist 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 that 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 my time as an artist for free will be blocked.
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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: attempting to shame someone for charging for what they create, while simultaneously wanting to receive the result of that creation. The purpose is obvious - if the artist can be embarrassed into proving that they “have enough money,” the person applying the pressure hopes that 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 who are so poor that they cannot even afford a coffee.” Obviously, being able to afford your own coffee does not mean that the person who invited you should suddenly expect you to pay for it yourself just to prove that you have money. In exactly the same way, being able to afford my own materials, tools, and lifestyle does not mean that I should give my art away for free just to prove that I can afford to do so.
I do not charge for my art because I need someone to rescue me financially. I charge because my art has a price. Whether I personally have one dirham or one billion dirhams would not change that principle. A buyer pays because they want something I create - not because they have conducted an assessment of my bank balance and decided whether I “deserve” to be paid.
Calling an artist “poor,” “a beggar,” or implying that accepting payment demonstrates financial need does not make the argument stronger. 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 that 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 for my art, or calls me “poor” or “a beggar” in an attempt to get what they want for free, will be blocked.
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10. A tenth type of manipulation is when a man says: “I do not understand what art or painting means. Explain everything to me 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 with you 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 also 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 spending 15-30 minutes travelling to Palm Jumeirah an unacceptable “waste of time,” while expecting me to spend my time providing 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 someone that 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 amount of effort is considered too much, there is nothing further to discuss. Anyone who describes coming to Palm Jumeirah to discuss my art as a potential “waste of time,” while expecting unlimited explanations from me in messages first, will be blocked.
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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 to such men is simple: The problem is not that I am unable to 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 by giving me orders.
Second, this attitude assumes that their time is more valuable than mine. They do not want to spend several minutes reading information that I have already taken the time to prepare, but they expect me to spend my time repeating it individually for their convenience. Their unwillingness to spend their own time does not create an obligation for me to spend mine.
Third, refusing to make even the smallest effort to learn about me tells me something about the seriousness of the enquiry. Someone genuinely interested in me will normally 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 even reading the information already available is not genuinely choosing me - they are looking for 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 multiple 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 what my terms are, but pretends not to know and asks me to repeat everything in private messages. They may assume that the advertisement, website or profile was written or managed by an assistant, manager or agent, and hope that by asking me directly they might somehow receive different terms - perhaps even a price ten times lower than the one already 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 if someone has financial limitations. There is nothing wrong with honestly saying that something is outside your budget or politely asking whether another option is available. Financial limitations are not the problem. Dishonesty is.
I have already provided detailed information that answers approximately 99% of the questions people usually ask before contacting me. I wrote it specifically so that I would not have to repeat the same information individually to everyone who messages me.
I answer all the messages I receive myself. I do not have a 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 are receiving 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 to be individually 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, then 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 already seen, gives me instructions 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 in an attempt to obtain better terms will be blocked immediately, without the possibility of a second chance.
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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 you with hundreds of artists willing to create one. You can compare portfolios, prices and conditions and choose whoever offers you the best deal. Someone may even be willing to 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 against one another 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 particularly 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 want to 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 identity of the artist as important enough to contact me specifically, while treating the artist as interchangeable the moment you want to negotiate the conditions.
If you want something specifically from me, I expect enough genuine interest to know who 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 much 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 in order to “win” them as a buyer, will be blocked.
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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: criticizing 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 behavior 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 does not like 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.
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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 that my painting should cost less or that they should receive much more artwork for the same money.
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.
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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.
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 gives them authority over me will simply be refused and blocked.
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16. A sixteenth type of manipulation is when a man says: “It’s my first time buying a painting from you. What if I don’t like it? Give me a much lower price for the first one, so at least I won’t lose much money if I don’t like it.”
This is manipulation because the buyer is trying to make me take the financial risk of his own decision. He wants the same work, the same time, the same experience and the same quality, but wants to pay much less simply because he is not sure whether he will like the first painting he buys from me. In other words, he wants to protect himself from losing money by asking me to lose money instead.
My response to such men is simple: The fact that this is the first time someone is buying a painting from me, and they are not sure whether they will like it, is not a reason for my price to suddenly become lower.
Anyone who uses “it’s my first painting from you,” “what if I don’t like the final result,” or “I don’t want to lose money on the artwork if I don’t like the final result” to pressure me into lowering the price of my work is trying to transfer the financial risk of their own decision onto me. This is manipulation. Such people will be blocked.
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17. A seventeenth type of manipulation is when a man says: “I only need a simple abstract painting. What is there to do anyway? Just splash some paint and that’s it. Let other people pay the full price if they want something complicated. I’m not going to pay the full price for something so simple.”
This is manipulation because the person first decides that what he wants is simple and has little value, and then uses his own opinion as an argument for why its price should be lower. He wants something from me while simultaneously trying to convince me that what he wants is barely worth anything. It is a very convenient strategy: first devalue what someone wants to get, and then use that devaluation as a tool to negotiate the price down.
My response to such men is simple: if what I do really is “just splashing some paint,” there is absolutely no reason to come to me for it. Anyone can buy some paint and do it themselves. If the result is genuinely equal to mine, the problem is solved and there is no reason to pay me at all.
Anyone who uses “I’m not paying the full price for something so simple” or “what is there to do - just splash some paint” to devalue my work and pressure me into lowering my established price is creating an artificial argument for why something he wants should cost him less. This is manipulation. Such people will be blocked.
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18. An eighteenth type of manipulation is when a man says: “I want to pay much less, but I don’t want a smaller painting. I want the same size, the same amount of work and the same amount of your time, just for a much lower price. If paying less means getting a smaller painting, I’m not interested. I don’t want less. I want a discount.”
This is manipulation because the person is not asking for a cheaper option. He is asking for the full option at a reduced price. He wants the same painting, the same amount of my time and work, and the same result, while significantly reducing only what I receive in return.
My response is simple: a smaller budget does not make the same painting cheaper. In exceptional cases, entirely at my own discretion, I may offer a smaller painting requiring less of my time and work at a lower price. This is not a standard option, and it is not something a buyer can request or expect.
Anyone who says “I want to pay less, but I don’t want you to spend less time creating a smaller painting,” “I want the same thing, just cheaper,” or “I want a discount without reducing the amount of your time and work” is not asking for a cheaper option. They are asking me to take the financial loss so they can receive more than they are willing to pay for. This is manipulation. Such people will be blocked.
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19. A nineteenth type of manipulation is when a man says: “You don’t have enough experience in painting for me to pay your full price. You probably haven’t tried this or that yet. Give me a discount the first time and prove that you have enough experience to do it. Then I can decide whether your experience is sufficient. Why should I pay the full price before you prove it to me?”
This is manipulation because experience can be turned into an excuse for demanding a discount at absolutely any stage. If someone has little experience: “You’re inexperienced, so you should charge less.” If they have several years: “That’s still not enough, so you should charge less.” And once they have decades of experience, the argument can simply be reversed: “You’ve been doing this for too long. Your approach is outdated, you’ve lost the fresh perspective of a younger person, so you should charge less.”
Anyone who says “You don’t have enough experience in painting, that is why I will pay less,” “You haven’t tried painting this yet, that is why I will pay less,” “Give me a discount for the first painting so I can see whether you have enough experience,” or uses any similar argument to justify paying less for my artwork is using my experience and their own uncertainty as bargaining tools. This is manipulation. Such people will be blocked.
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How Not to Be Blocked
If someone contacts me from another number asking, “Why did you block me?”, these are the most common reasons why I block contacts. If someone does not want to be blocked, they should simply avoid these behaviors:
Rudeness, disrespect, insults, lies, deception, attempted blackmail, threats, manipulation, scams, attempted payment fraud, spam, mass messaging, attempts to take a dominant position over me, fake bookings, no-shows, fake promises, attempts to obtain free attention or entertainment through endless messaging, deliberately wasting my time, pressuring me to justify or prove my professionalism, asking me to reduce my price by ten times or claiming that my work should cost ten times less, or repeatedly ignoring the information and rules provided in my advertisement.
If someone does not want to be blocked, the simplest solution is to communicate respectfully, honestly, and without manipulation or lies. If any of the behaviors listed above are noticed, the person will be blocked immediately.
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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.
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📄 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.
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💬 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 the exact time I can be on Palm Jumeirah: (insert time)."
These are not merely words. They are keys. The right words open the right doors.
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