Contemporary Kazakhstani artist. Her personal works include graphic art and painting. Installations, performances, photo and video art are characteristic of her collaborative work with Viktor Vorobyev. Key methods in E. Vorobyeva's works: irony, absurdity, surrealism, symbolism, found objects, allegory. Key themes: everyday life, the interaction between humans and nature, power, society.

E. Vorobyeva studied at the Gogol Art School (1975–1979, Almaty) and at the T. Zhurgenov Kazakh National Academy of Arts (1985–1990, Almaty; KazNAI) in the department of monumental and decorative painting. Since 1995, E. and V. Vorobyevs have been creating joint art projects.

In her works, E. Vorobyeva explores post-Soviet (Oilcloth Modernism, 2020–2021) and post-humanist (Alphabet, 2017) spaces. She reflects on the politics of lack of freedom and totalitarianism, fear and darkness (Blackout, 2023), hope and light (Sprouting Iris, 1995). Text and traditional decorative elements become part of the composition in the artist's still lifes (They, 2022) and key characters in her photographs (Re-Orientation, 2010–2019). In their joint practice, E. and V. Vorobyevs address contemporary artists (The Artist Sleeps, 1996), speak about the aggression of power (Vintage, 2018), and discover surrealism in everyday life (Jewellery for the Sky, 2001–2007).

The works of E. and V. Vorobyevs were presented at the festival of creative youth Zhiger. XV Republican Exhibition (Exhibition Hall of the Union of Artists, Almaty, 1988), an exhibition at the Central Exhibition Hall of the Directorate of Art Exhibitions and Auctions (Almaty, 1994), the sixth Istanbul Biennial (1999), No Mad's Land (Haus der Kulturen, Berlin, 2002), Tracing Roads through Central Asia: Dilemmas and Travelers' Perspectives (Yerba Buena Center for the Arts, San Francisco, 2008), At the Crossroads: Contemporary Art from the Caucasus and Central Asia (Sotheby's, London, 2013), LVII Venice Biennale (2017), Phantom Reality (Aspan Gallery and DOM 36, Almaty, 2022).

E. Vorobyeva also has numerous publications: About Maslov (Maslov Collection, Almaty, 1996), Kazakhstani ‘babushkas’ from Stockholm (Prostor magazine, № 3, Almaty, 1997), texts for the catalog Art Discourse-97 (Almaty, 1998), The True Story of One Installation (Urbi et Orbi, Bishkek, 2001), accompanying texts for works and exhibitions (The Artist Sleeps catalog, 2015), Documentation: Imagining Central Asia on the Map of Contemporary Art (Tselinny Center of Contemporary Culture, Almaty, 2025).