Russian Girl MUMMIFIED Alive in a Sheikh’s desert villa… This story began in July 2023 when 27-year-old Elizabetha Veronova posted a series of photos from Dubai on her profile. She was a mid-level influencer with an audience of about 180,000 followers specializing in content about travel and art. Her last post was made on July 23rd. After that, the profile went silent. No one raised the alarm. In the influencer industry, breaks in activity were considered normal. Brands stopped collaborating. Subscribers gradually lost interest and the account slowly faded away. Voronova flew to Dubai at the invitation of a man who introduced himself as Fared al-Mansuri. He contacted her through a professional agent who worked with artists and models. The offer sounded attractive. Participation in a private art project for a contemporary art collection. $50,000 in payment accommodation in the collector’s villa. The work was supposed to take about two weeks. Voronova agreed after checking the references of the agent who had real contacts in the art world and worked with several well-known galleries in Europe. Al-Mansuri met her at the airport in person. He was a reserved man in his 50s who spoke proper English with a British accent. He was dressed in a light colored European style suit. They were driven in a premium car with a driver. During the trip, Al-Manssouri talked about his collection. He collected contemporary art, but was particularly interested in works related to the theme of the body and its transformation. He mentioned several well-known artists who worked in this direction. Voronova took notes. She saw this project as an opportunity to enter more serious art circles. The villa was not located in the city center, but on the outskirts in a deserted area where buildings were sparse. It was a house of modern architecture with large glass surfaces and white walls. The territory was fenced off by a high fence. Inside, the interior was minimalist. There was a lot of light. On the walls hung works that Veronova recognized as the creations of several famous artists. Al-Mansuri showed her around the house, showed her the guest room, and explained the layout. There was practically no staff to be seen, only a driver and a cook who appeared twice a day to prepare meals. On the first evening, they discussed the details of the project. Al-Mansuri showed her sketches and explained the concept. He wanted to create a series of photographs and video works exploring the idea of immobility and time. Voronova was to be placed in various poses wrapped in special materials resembling bandages. He explained this as a reference to ancient Egyptian mummification practices but in a modern context. The work was to be conceptual. No eroticism or provocation, pure art. Voronova asked questions. Al-Mansuroui answered in detail and convincingly. He showed her the contract she had signed in Moscow through an intermediary. Everything looked legitimate. Filming began the next day. Al-Mansori worked methodically. First simple poses. Veronova stood or sat while he took photos from different angles. Then he began to use materials. White strips of fabric soaked in some kind of solution. He explained that it was a special compound that created the desired texture and allowed the material to retain its shape. The smell was faint, medicinal. Voronova did not object. Al-Mansori worked professionally without unnecessary touching, commenting on each action. The first session lasted about 3 hours. Then he unwound the bandages, thanked her for her work, and let her rest. On the third day, Al-Mansori suggested trying a more complex composition. He wanted to fix her hands in a certain position to achieve the desired visual effect. He used thin plastic splints, which he attached under layers of fabric. Veronova felt discomfort, but not severe. Al-Mansori constantly asked if she was in pain and adjusted the tension. After the shoot, he did not immediately remove the contraption….Part 2 is in the comments👇👇

This story began in July 2023 when 27-year-old Elizabetha Veronova posted a series of photos from Dubai on her profile. She was a mid-level influencer with an audience of about 180,000 followers specializing in content about travel and art. Her last post was made on July 23rd. After that, the profile went silent. No one raised the alarm.

In the influencer industry, breaks in activity were considered normal. Brands stopped collaborating. Subscribers gradually lost interest and the account slowly faded away. Voronova flew to Dubai at the invitation of a man who introduced himself as Fared al-Mansuri. He contacted her through a professional agent who worked with artists and models. The offer sounded attractive.

Participation in a private art project for a contemporary art collection. $50,000 in payment accommodation in the collector’s villa. The work was supposed to take about two weeks. Voronova agreed after checking the references of the agent who had real contacts in the art world and worked with several well-known galleries in Europe.

Al-Mansuri met her at the airport in person. He was a reserved man in his 50s who spoke proper English with a British accent. He was dressed in a light colored European style suit. They were driven in a premium car with a driver. During the trip, Al-Manssouri talked about his collection. He collected contemporary art, but was particularly interested in works related to the theme of the body and its transformation.

He mentioned several well-known artists who worked in this direction. Voronova took notes. She saw this project as an opportunity to enter more serious art circles. The villa was not located in the city center, but on the outskirts in a deserted area where buildings were sparse. It was a house of modern architecture with large glass surfaces and white walls.

The territory was fenced off by a high fence. Inside, the interior was minimalist. There was a lot of light. On the walls hung works that Veronova recognized as the creations of several famous artists. Al-Mansuri showed her around the house, showed her the guest room, and explained the layout. There was practically no staff to be seen, only a driver and a cook who appeared twice a day to prepare meals.

On the first evening, they discussed the details of the project. Al-Mansuri showed her sketches and explained the concept. He wanted to create a series of photographs and video works exploring the idea of immobility and time. Voronova was to be placed in various poses wrapped in special materials resembling bandages.

He explained this as a reference to ancient Egyptian mummification practices but in a modern context. The work was to be conceptual. No eroticism or provocation, pure art. Voronova asked questions. Al-Mansuroui answered in detail and convincingly. He showed her the contract she had signed in Moscow through an intermediary. Everything looked legitimate.

Filming began the next day. Al-Mansori worked methodically. First simple poses. Veronova stood or sat while he took photos from different angles. Then he began to use materials. White strips of fabric soaked in some kind of solution. He explained that it was a special compound that created the desired texture and allowed the material to retain its shape.

The smell was faint, medicinal. Voronova did not object. Al-Mansori worked professionally without unnecessary touching, commenting on each action. The first session lasted about 3 hours. Then he unwound the bandages, thanked her for her work, and let her rest. On the third day, Al-Mansori suggested trying a more complex composition.

He wanted to fix her hands in a certain position to achieve the desired visual effect. He used thin plastic splints, which he attached under layers of fabric. Veronova felt discomfort, but not severe. Al-Mansori constantly asked if she was in pain and adjusted the tension. After the shoot, he did not immediately remove the contraption.

PART2

He said he wanted to take a few more shots with different lighting. Veronova spent about an hour in this position. When she was released, her arms were slightly numb. Al-Mansuri brought a warm towel and helped her stretch her muscles. He apologized for the inconvenience and increased the promised payment by $10,000.

By the end of the first week, the shoots became more intense. Al-Mansori said he was getting closer to the desired result. Now he was fixing not only her arms but also her legs using more layers of material. Voronova began to feel that the project was going beyond what she had expected but the money was good.

The contract was signed and she saw no reason to stop. Al-Mansori was polite and attentive. Once she complained of a headache and he immediately stopped work, brought her medicine and allowed her to rest for the whole day. On the 10th day, the first serious incident occurred. Al-Mansuri asked her to lie down on a special platform that he had set up in one of the rooms.

He explained that this would be the final composition, the most important one. Veronova lay down. Al-Mansori began to wrap her body as usual, but this time he worked longer and used more material. The layers became thicker. Veronova felt that she could not move. She tried to say that she was uncomfortable, but her voice came out muffled because of the fabric that covered part of her face.

Al-Mansuri did not react. He continued to work. Veronova began to panic. She tried to move her arms, but they were completely immobilized. Her legs wouldn’t move either. She tried to scream, but the sound was weak. Al-Mansori finished wrapping her body and walked away. Veransa heard the click of a camera shutter. then silence.

She didn’t know how much time had passed. Maybe 10 minutes, maybe more. Her panic grew. Her heart was beating so hard that she could feel her pulse in her ears. Then she heard Al-Mansuri’s voice. He spoke calmly, almost monotonously. He explained that this was the real project, that all the previous days had been preparation, that she would become part of his collection, a living work of art.

Voronova tried to scream, but her voice was still muffled by the material. Al-Mansuri continued to speak. He talked about ancient Egyptian mummification practices, about how priests preserved the bodies of pharaohs for eternal life, about how modern medicine allows this to be done with a living person, that she would exist in this state for many years, that he had done this before, but those experiments had been unsuccessful, that she was the perfect specimen.

Voronova listened and couldn’t believe what was happening. It sounded like the ravings of a madman. She waited for him to laugh and say that it was all part of a performance, that in a minute he would release her and they would laugh at her reaction. But Al-Mansuri did not laugh. His voice remained calm and serious.

He moved closer. Voronova felt a prick in her arm. Then the world began to blur. When she came too, pain was the first thing she felt. a sharp throbbing pain in her hands, specifically in her fingers. She tried to move them but couldn’t, not only because her body was wrapped up, but because her fingers simply didn’t respond.

Voronova opened her eyes. Above her was the ceiling, white with spotlights. She tried to turn her head, but it wouldn’t move. Her body wouldn’t move either, only her eyes. She could blink and move her eyes. Al-Mansori appeared in her field of vision. He was smiling. He said that the procedure had been successful, that he had fixed her joints in the correct position, that now she would not be able to move even if her bandages were removed, that this was necessary for long-term preservation.

Veronova tried to scream, but only a weeze came out of her throat. Al-Mansori explained that her vocal cords were temporarily paralyzed by a mild toxin, that in a few weeks her voice would return, but by then she would be fully prepared and would not want to scream. The following days were a blur. Al-Mansuri gave her regular injections.

Sometimes Veronova fell into asleep or a state of semi- delirium. Sometimes she was conscious and understood everything that was happening. Al-Manssori continued to work on her body. He added layers of material. He changed the bandages for new ones, soaked in other solutions. He explained each stage like a teacher giving a lecture.

He said that he was using special compounds that slowed down the skin’s metabolism and prevented tissue destruction. That nutrition would be delivered through a thin tube inserted into her stomach. That her excretoryy system would be redirected through catheters. that she would feel no discomfort if she did not resist. For Enronsova did not know how much time had passed when she was moved to another room.

It was a room with high ceilings and subdued lighting. Al-Mansori placed her in a transparent container, a glass sarcophagus, as he called it. Inside was a system for maintaining temperature and humidity. Tubes and wires were hidden under her body. From the outside, the structure looked like a museum exhibit. Al-Mansori spent a long time adjusting the lighting.

He took photographs. He said that the result exceeded his expectations, that she looked perfect. It was his private gallery. Veronova did not immediately realize that there were other exhibits in the room. When her eyes adjusted to the light, she saw several more containers along the walls. Some of them contained human figures wrapped in bandages.

They all looked like mummies for Ensova could not tell whether they were alive or not. The containers were sealed. There was no movement. Only her sarcophagus had a life support system. Wires and tubes were visible upon closer inspection. Almansuri came regularly, sometimes alone, sometimes with guests.

He showed his collection like a museum guide. He talked about the concept behind each work. He spoke of Voronova as his latest and most successful acquisition. Guests looked at her, commented on the quality of the workmanship, discussed the details. No one asked questions. No one doubted that they were looking at a work of art and not a living person.

Voronova tried to signal. She moved her eyes, tried to blink more often. No one paid any attention. Time lost its meaning. Days turned into nights. The light in the gallery dimmed in the evening and became brighter in the morning. Al-Mansori came to check the systems. He changed the nutrient solutions. Sometimes he gave injections.

Veronova gradually lost her sense of reality. Sometimes she thought it was an endless nightmare from which she would soon wake up. Sometimes she accepted the situation as a new reality in which she would have to exist for an indefinite period of time. Her thoughts slowed down. Her consciousness dulled.

Maybe it was the effect of the chemicals. Maybe it was a protective reaction of the psyche. At some point, a new person appeared in the gallery, a worker. Al-Mansori had hired him to maintain the villa’s technical systems. His name was Ahmed Khalil, a man of about 35, of Filipino origin. He had been working in Dubai for 8 years.