Ewa Doroszenko’s painting project directly refers to the painting „Parade amoureuse” by Francis Picabia, French dadaist (1917). The title suggests eroticism, while the painting itself presents a mechanism that invites multiple interpretations. Ewa Doroszenko transforms the main motif of Picabia’s painting to present it on a larger, spatial scale. The complex love structure is reconstructed from scratch, creating an expanding composition with antagonistic male and female elements. As in Ewa Doroszenko’s previous works, the abstract representation of the mechanical act of love is enriched by sound, which provides an ironic commentary to Picabia’s painting.