Munissa’s pictorial art does not pretend to be a complex chain of conceptual solutions, the endpoint of which is the painting. Through personal, intimate observations, the artist develops her own language, which is contrary to the won't of many of Kazakhstan's contemporary artists and almost does not advert the topic of identity and begins with modernity.
Bright expressive colors that resemble fauvists, help the artist to create a collective portrait - and more often it is a portrait of a woman. Almost the poetic lightness of each painting allows it not to talk with the audience instructively but offers the audience to become a witness of the moment which was seen or caught accidentally.
Here one can feel the influence of cinematograph because the space of most of the portraits works like in photos and film footage. It's a portrait, but it's always in motion and it's always a moment torn from life.