Sasha demonstrates various fences in her photographs: tin fences, concrete fences with barbed wire, Soviet PO-2 fences, wooden patriotic fences with a tricolor on them, metal fences similar to those used at rallies and protests, fences that seem completely meaningless (somewhere in the forest against the background of picturesque landscapes), “nominal” fences, which are easy to overcome, decrepit fences covering the identically decrepit buildings, etc. Fences become a noticeboard, a canvas of various statements (from graffiti to telephone numbers), a line between private and public, hiding something secret or valuable.
Initially, the concept of the project was somewhat different. Sasha Grom designed her own fence as an art object. As usually people protect something valuable, Sasha has decided that the most valuable thing is herself, so she acted as the very “object” that should be protected from prying eyes. She walked through the streets сarrying a fence, even attended several parties. But those around her perceived it in their own way, they wanted to join Sasha, stand next to her, take pictures using the fence as a background. Overall, they perceived her artistic statement as a joke. Eventually, she decided to use herself as a background, multiplying her self-portraits, and the fence became the one being portrayed.
Sasha Grom states that endless fences make her feel paranoid, as if someone is directing her route. This creates a feeling of hostility and lack of freedom. However, in the process of working on the project, the photographer realized that oftentimes fences reflect people who use it, or the place where it stands. It forms a certain awareness that the fence is not only about visual and, often, physical discomfort, but also is an inevitable necessity.