Malkhazova translates the objects and figurative forms under investigation into her own sense of abstraction, which then finds expression, sometimes as mystically, dark unclear figures, sometimes as turbulently dashed specks of paint, transitions of geometrical forms. She makes no distinction between abstraction and figuration, between the regularities of sudden expression and the spontaneity of freehand drawing, but rather, she explores the two poles of these supposedly rigid opposites within one and the same painting, allowing things begin with precision and exactitude to shed all restraint in an unforeseen gestural fling. Her large format paintings consist of complex models, that can be read as the personal depiction of a thought, conveyed via stages of re-forming, abstracting, translating and processing. They offer information on one’s own and other people’s perception of images.

Malkhazova's painting remains a substance of a thinking process. During the process of treating what has been seen, the thoughts take place in the act of following the different areas and figures of the painting. Using a kind of intuitive mesh arrows, points, specks and mystical figures, which give pointers to movement, spatiality, the present, the future and infinity.
Malkhazova strives to locate the compositions she has begun within a seemingly subjective and mind driven significance. At the same time, the continual shedding of restraint and the infinite possibilities of perspective enabled by abstractive figuration defines the unstable, vertiginous forces at work in the far-flung expanses between perception, cognition and visualization.