Vilen Surenovich Karakashev and Liliya Yakovlevna Levshunova's "Drug Addiction is Prohibited" (1988) represents a pivotal moment in late Soviet social awareness campaigns, emerging during Mikhail Gorbachev's anti-alcohol and anti-drug initiatives of the perestroika period. Created as drug use became an increasingly visible social problem in the USSR, this striking silkscreen print exemplifies the shift in Soviet propaganda from purely political messaging to addressing domestic social issues. This timing is particularly significant as it coincided with broader cultural changes that allowed for more open discussion of previously taboo subjects, marking a significant departure from earlier Soviet approaches to public health messaging.

The composition centres on a woman whose serene, almost beatific expression belies her distorted pose, creating a poignant commentary on addiction's false promises. Above her, a prominent moth rendered in turquoise, coral, and gold serves as a complex symbol deeply rooted in Slavic mythology. In Polish, Czech, and other Slavic folklore, the moth (mora) represents both a physical creature and a spirit that torments sleepers, traditionally appearing as the souls of living people that leave the body during the night. The woman's head rests on the ground at an unnatural angle, her hair flowing in psychedelic waves that echo the moth's wing patterns. This visual connection between the peaceful face, distorted body, and hovering moth creates a powerful narrative about the deceptive nature of drug dependency, while the still-smoking joint and syringe at the bottom provide stark evidence of its reality.

The artists' use of colour and technique demonstrates a masterful blend of Soviet poster traditions with contemporary artistic innovations. The limited palette of red, blue, gold, and white against black creates a powerful visual impact while maintaining legibility - a crucial consideration for public health messaging. The silkscreen printing technique allows for both crisp elements in the text and syringes, while also achieving subtle gradients and overlays in the flowing hair and moth wings. The high contrast between the woman's pale face and the deep black background demonstrates the artists' understanding of poster design principles, ensuring the image remains striking even at a distance.

Having established themselves as leading figures in Soviet poster design, both Karakashev and Levshunova brought considerable expertise to this collaboration. Karakashev, who graduated with honours from the Moscow State Academic Art Institute in 1962, was known for his innovative approach to political posters and later interest in esoteric subjects, particularly after his 1982 trip to India. This background merged perfectly with Levshunova's extensive experience in social messaging and cultural posters, developed through her work at the prestigious V.I. Surikov Moscow State Art Institute. Their partnership produced works that were both artistically sophisticated and effectively communicative.