In the evening, when the light drops lower and objects on the table acquire an almost museum-like clarity, cards begin to behave differently. They no longer look like a tool. They rest there as a private collection of signs, something one does not want to touch too quickly.
This is the register in which the author’s Tarot deck created for Pinar exists. It is difficult to call it a product; the word feels too coarse for an object built on nuance — muted gold, sandy light, refined linework, and the atmosphere of a slow ritual.
The deck was not conceived as another interpretation of a familiar esoteric system. It was created as a distinct visual world for a Tarot reader who works not with spectacle, but with symbol, pause, and attention to the inner state of the person before her.
In Daycom’s editorial reading, the strength of this deck lies not in decoration, but in discipline. It does not replace depth with effect, nor use mysticism as scenery. Its aesthetic rests on a quality increasingly rare in the contemporary market: restraint.
The artist, Ukrainian by origin and now living in the United States, has given Pinar a deck with a double perspective. It carries the memory of European symbolism, while also reflecting the distance of someone looking at tradition from another shore, removing noise and leaving essence.
That distance can be felt in every card. The images are not overloaded with explanation. They seem held in the moment before speech: a figure has not yet stepped forward, a tower still keeps its silence, the moon has not yet become alarm, the cup has not yet become an answer.
Лімітована авторська колода Таро «The Golden Deck», створена для Pinar — для газети Дейком
The golden-sandy palette works as a language of its own. It does not chase precious shine, imitate jewellery, or create theatrical luxury. Its light is warm, composed, almost physical. It makes a reading intimate rather than dramatic.
This is the quiet force of a premium Tarot deck. It must be beautiful enough to invite trust, but not so loud that it overwhelms the question. Here, the card does not compete with intuition. It creates the space in which intuition can speak more precisely.
The classical structure of 78 cards is fully preserved, yet nothing feels mechanical. The major and minor arcana do not appear as a checklist of required elements. They unfold as a continuous story about choice, loss, power, temptation, hope, and the return to oneself.
For professional practice, this matters. A Tarot reader works not only with the meaning of a card, but with its atmosphere, tempo, and inner weight. A strong deck does not deliver a ready-made phrase. It opens a scene in which a person suddenly sees their own question from the side.
There are many such scenes in the cards created for Pinar. Not textbook illustrations, not decorative emblems, but states. A road may become a decision. An animal, an instinct. Water, a memory. A tower, not catastrophe, but the moment when an old form can no longer hold the truth.
The material body of the deck supports this dramaturgy. The 70 × 120 mm format gives the eye enough room for detail without taking comfort away from the hand. It is a proportion in which the card remains workable, yet gains the dignity of a small graphic sheet.
Coated paper with a density of 350 g/m² gives each card a tangible presence. Its weight is not incidental: it slows the gesture, makes shuffling more deliberate, and reminds the body that this is not light print, but an object made for repeated touch.
Soft Touch lamination completes the experience. The surface becomes velvety, almost whispering. The cards do not slide like cold gloss and do not demand speed. They tune the hand to another rhythm — slower, more focused, more private.
Yet rarity remains the defining feature. The collection is planned as 10 limited release blocks, each containing only 100 copies. This is not simply scarcity as a marketing gesture. It is a way of returning an authorial object to its natural scale: it is not meant to belong to everyone.
Each block preserves the shared character of the series while carrying its own details. For a collector, that changes the nature of ownership. One receives not merely a Tarot deck, but a precise fragment of a wider author’s story, limited in both time and number.
Лімітована авторська колода Таро «The Golden Deck», створена для Pinar — для газети Дейком
In an age when spiritual practices are easily turned into a mass visual style, such limitation has weight. It protects the object from being weakened by repetition. A rare deck does not seek to be everywhere. Its force lies in the fact that it appears only for a few.
For Pinar, this deck feels less like an addition to her practice than its continuation. There is no accidental ornament here. It corresponds to the image of a Tarot reader who does not sell quick prophecy, but creates a space for a careful encounter between a person and their own choice.
These cards are for those who do not see Tarot as a mechanism of prediction, but as a language of the subconscious, symbols, and personal meaning. For those who know that a true reading begins before the first card is turned — in silence, in gesture, in trust toward the object.
There is something in this deck of a private archive, where every image holds its own temperature. Something of an art book one wants to open slowly. Something of a jewel, but without demonstrative shine, without the need to prove its worth.
Its luxury is not in being noticed immediately. Its luxury is in staying close, becoming more intimate with every touch, enduring silence, and not losing depth after the first moment of admiration.
Perhaps that is why this deck should not be described as an object for everyone. It was created for those who recognise things not by fashion, but by inner response. For those who understand that sometimes a card does not give an answer. It teaches a person how to hear it within themselves.
