The first panel, "Man on Horse (Muzhik)," not only shows a villager in a daily moment but also subtly hints at Kozlova's husband, recognizable by those familiar with her intimate code—the beard, the posture, his position within the community. In "Tea Drinking with the Family", the second panel, the artist presents a traditional home scene. Here, she gently weaves herself into the story, with the pattern and color of her dress and a characteristic headscarf, an unspoken signature for those who know her art beyond the surface. And in "Woman with Water Bucket", the third panel, the protagonist moves with purpose and grace, and Kozlova flirts again with her presence. 

    Kozlova's work is not just a depiction but a celebration, an invitation to partake in a world where the artist and her loved ones are intertwined with the characters and their lives. In line with naive Russian painting and her Hasidic tradition of avoiding direct representations, Kozlova chooses allegory and suggestion, allowing her and her family to permeate the scenes in a way that is both personal and universal. The triptych becomes a series of secret doors through which Kozlova steps, living out each story, each brushstroke an intimate whisper, sharing her world, culminating in a communal dance. It is this subtle weaving that draws the viewer closer, inviting deeper understanding and connection with the story Kozlova has masterfully created to be discovered and appreciated. An experience for those who love not only painting but also storytelling.