Following the concept and logic of «Russian Povera», the first and so far the main project of the Perm Museum of Contemporary Art (PERMM), Elena Slobtseva works primarily with garbage and waste. Key actors of many Elena's objects, graphic and video works are ordinary office metal staples, furniture and construction staples of various sizes. They take different roles expressing the ideas of birth, growth, aging and death; they embody live and dead objects, ideas of individual and collective. Sometimes they represent conflicts, in other works are metaphors of biological ties, historical "seams" and «spiritual bonds» (named so in the speech by Vladimir Putin a few years ago).

Body themes are important for Slobtseva's art. Her «Breastfeeding» (2012), a provocative and feminist-oriented work, was partially a performance, partially an object shown in the Perm Museum of Contemporary Art and offered the audience the opportunity to confront paradoxical games of meaning and linguistic traps. Deserts shaped as jelly breasts were served at the exhibition opening and public was supposed to consume them. The author describes it as an erotic female theme: «I always want to touch objects and jelly is one of those strange substances that one can possibly feel».

«Unnecessary Form» (2015) is another jelly-based project by Elena Slobtseva that appeals to a number of mental layers. The colour of jelly sculptures, that actually could be tasted at the show, implies the story about oil because «here in Russia we live by oil and are fed by oil». The environmental and ecological connotation is most visible here focusing the attention of a viewer on the abundance of wasted objects.

«Household Glamour» is an open permanent project that Elena Slobtseva started in 2013. It visualizes unlimited and dubious moments of a woman's life story with its immersion into everyday existence and living it through. On the one hand, a woman obeys a man and accepts her life while on the other hand discovers sometimes hedonistic or masochistic pleasures.

Unlike her previous politically driven works, «Heart» (2017) is a kinetic object free of any political connotation. It was commissioned by CCA «Garage» for the first Triennial of Russian contemporary art and shows the creation of life in an urban and technical space. Stacks and piles of staples beat simultaneously with the heartbeat demonstrating a break up with the former perception of a human body as biomorphic.