In the series Self-exoticisation archives (2023-ongoing), Kadyri trained a custom AI on her own images of traditional Suzani embroidery, an art form tied to invisible feminine labour, in an attempt to visually capture the mental traps she had unconsciously set for herself while relearning and redefining her blurred Central Asian identity. These outcomes remain a work in progress and a continuous dialogue with a digital tool that, for now, still reflects colonial structures, aesthetics, and imaginations.

In these collaborations with her custom AI, Kadyri grapples with the challenge of expressing her personal experiences authentically. She often feels like an amorphous being in a perpetual state of flux, lacking a definite shape or form. At the same time, she questions whether her portrayal of these experiences perpetuates and idealises visual aesthetics co-opted and commercialised for external consumption.