I have made my choice in favour of these works because they are resolved and
demonstrate my personal voice
In Sheep's Clothing, 2024, recycled wood, fur; acrylic paint, screws, 59 x 33 x 35 cm.
This piece explores the tension between strength and fragility through the juxtaposition of rigid, structured wood and soft, fluffy fur. The deep blue and soft pink colours create visual contrast, inviting reflections on duality and balance. By combining unconventional materials, I aim to disrupt traditional notions of materiality and colour, encouraging critical reflection. This work reflects my personal history and emotional states, using tactile and visual elements to evoke deeper meanings and sensory experiences.
2.
Tonal Dichotomy, 2024, recycled newspapers, acrylic, water-based fixatives on metal grid, wood, 104 x 174 x 10 cm.
The integration of newspapers serves as a metaphor, symbolising the influence of mass media on societal perspectives and the ever-evolving narrative. Beyond the aesthetic allure, this artistic journey seeks to transcend beauty norms, inviting viewers to confront the intricate interplay of emotions and ideologies.
they show a way of thinking and researching
3.
Harmony in Chaos, 2024, canvas, paint, paper, screws, metal grid, cardboard, acrylic, fixatives, wood, 100 x 150 x 15 cm.
In crafting this piece, I poured my soul into creating a symphony of contrasts, blending chaos with harmony. The abstract strokes and geometric shapes in acrylic evoke a sense of dynamic energy, while the collage elements add depth and narrative. Each texture and hue interplays, urging viewers to find balance in disorder. This artwork embodies the vibrant pulse of life, inviting a touch of introspection and spirited vigor into any space.
Cognitive dissonance, 2024, paint, newspapers, burlap, cardboard, screws, metal grid, acrylic, fixatives, wood, 100 x 139 x 18 cm.
"Cognitive Dissonance" captures a world where lively colours sing loud, almost making you forget the breaks and cracks underneath. It's like looking at a screen—so bright and full of life, you almost miss the shadows in the background. But they're there, whispering stories of a world that's not as whole as the colours make it seem.
Fragmented Perspectives (Harmony in Chaos), photography
they demonstrate a level of mastery in working with the material and with the message
4.
Untitled (Fairy tale), 2024, recycled newspapers,canvas, paint, screws, metal grid, cardboard, acrylic, fixatives, wood, 104 x 174 x 15 cm.
In my artwork Untitled (Fairy Tale) I delve into the juxtaposition of contrasting narratives shaping our contemporary discourse, influenced by the digital era's impact on our perception of reality. As we transition from post-internet art to a post-conflict visual culture, seeking clarity and truth through physicality, this piece serves as a visual exploration of these shifting dynamics.
The upper portion of the artwork presents a soft, pastel-toned surface, with delicately coloured newspapers whispering beneath a white-yellowish hue. These newspapers symbolize the mass media and digital realm's tendency to manipulate and distort the truth, while weak remains of printed text hint at obscured realities.
Contrasting this fragile surface, the lower section of the artwork features a rhythmic composition of reclaimed materials from my studio: wooden sticks, metal grid fragments, and cardboard pieces. These elements from my childhood memories represent resilience and solidity, offering a tactile anchor in a world that is often defined by intangible digital media or distorted through mainstream media.
This work involves viewers to contemplate the complexities of our modern existence, where the boundaries between the manipulated digital and real physical blur. Through this interplay of materials and meanings, the artwork invites us to navigate the dualities of perception and truth in our ever-evolving narrative landscape.
5.
Duality of Discourse, 2024, paint, newspapers, screws, cardboard, canvas, acrylic, fixatives, wood, 174 x 170 x 14 cm.
"Duality of Discourse" is a circular artwork that visually embodies the dichotomy between truth and deception, fragility and strength, through contrasting elements. The upper half, comprised of newspapers painted white, reveals glimpses of obscured text beneath, symbolizing the manipulation and distortion of information in the digital age. Below, a rhythmic arrangement of black wooden sticks and debris from the artist's studio represents resilience and solidity amidst chaos. This juxtaposition of opposing materials and colours reflects the complex interplay between conflicting narratives and the enduring quest for truth in a post-conflict world shaped by digital media and propaganda.
6.
Precarious Balance, 2024, acrylic, newspapers, screws, sand, сhipboard, paint, fixatives, wood, 86 x 46 x 42 cm.
This work explores themes of stability and fragility through its construction and materiality. The sturdy, white-painted wooden base supports a vibrant, colorful papier-mâché form, highlighting a tension between the solid and the ephemeral. The gradient colors, evoktransitioning from blue to green and yellow, e natural elements such as the sky, sea, and earth, suggesting a connection to the environment and the delicate balance within it.
The precarious positioning of the papier-mâché form on the wooden structure symbolizes the fragile equilibrium we experience in various aspects of life, including personal, societal, and ecological domains. By using recycled materials, this piece challenges traditional art conventions and emphasizes sustainability, urging viewers to reflect on their relationship with the environment and their role in maintaining balance.
Fragmented Perspectives (Precarious Balance), photography
By photographing and enlarging a detail of my wooden sculpture and positioning it alongside the original piece, I draw parallels to how media can manipulate understanding by focusing on isolated aspects. This method invites viewers to explore complex textures and shapes often overlooked, encouraging deeper thinking about scale, materiality, and aesthetics.
they are rethinking a skill
7.
Perfectly Imperfect, 2024, acrylic, newspapers, burlap, screws, cardboard, metal grid, sand, сhipboard, paint, fixatives, wood, 46 x 54 x 40 cm.
'Perfectly Imperfect', a sculpture that loves to not take itself too seriously. It's inspired by the "why-not" and "let it go" attitude of anti-sculpture. Like finding shapes in clouds, it’s all about seeing fun in the mess. I’ve played with scraps and bits from around my studio, letting them fall where they wanted, like a game of artistic Tetris. This piece is a little bit of a rebel, not glossy or smooth, but full of character and stories. It’s not just about what you see, it’s about smiling at the mix-up and feeling the freedom of creating something that’s perfectly imperfect.
Fragmented Perspectives No 1 (Perfectly Imperfect), 2024, Photo print behind glossy acrylic glass 4 mm., Dibond 3 mm, aluminium rail, 53,3 x 40 x 1,7 cm.
8.
Palimpsest of the Mind, 2024, acrylic, newspapers, canvas, screws, rope, cardboard, metal grid, sand, copper paper, holographic paper, сhipboard, paint, fixatives, wood, 40 x 26 x 15 cm.
Entitled Palimpsest of the Mind, this assemblage embodies the ephemeral threshold between our hidden emotions and the public face. Through an assemblage in a box, symbolising home, viewers are invited into an intimate space where emotions and memories are fragmented, superimposed and intertwined, much like the interwoven materials that comprise the work. The intentional use of texts and textures represent the constant flow of societal norms and information that shape and often obscure our true selves. The artwork aims to juxtapose external chaos with internal silence, provoking a dialogue about the invisible depths of human experience.
Fragmented Perspectives (Palimpsest of the Mind), 2024, Photo print behind glossy acrylic glass 4 mm., dibond 3 mm, Fuji Crystal Archive glossy, aluminium rail, 120 x 90 x 1,7 cm.
My work explores the nuanced relationship between digital and physical realities. In a world where digital manipulation often distorts our perception, my art aims to reclaim the tangibility and trust inherent in physical materials.
Through detailed photographs of hyper-tactile sculptures, I emphasise the contrast between digital media's transient, sometimes unreliable nature and the enduring presence of physical objects. These images capture intricate textures and forms, challenging the viewer to consider the authenticity and permanence of what they see.
By presenting these physical works through a digital lens, I provoke questions about our shifting trust in visual information. Through my art, I try to understand where the line lies between the truth and authenticity of digital images and the concrete reality of tactile experience. How does the digital relate to the physical? By doing this, I hope that people will be able to more critically perceive information from the media and develop the ability to see the world in a global sense, and not within the framework of a particular country or situation.
they provoke discussion and feelings
9.
for my mom, 2023, canvas, paint, recycled newspapers, screws, metal grid, cardboard, acrylic, fixatives, wood, video projection 3´30, 118 x 135 x 23 cm.
the theme of the artwork is easy to read and is shown in a new, unusual way
10.
Untitled. Glossy pink, 2024, recycled newspapers, canvas, paint, screws, acrylic, wood, coating, 50 x 50 x 15 cm.
The use of newspapers covered in a bright, pink coating suggests a commentary on how media and information are consumed and perceived in modern society. A glossy finish can hint at the superficiality or sensationalism often associated with modern media. Newspapers, usually fleeting and ephemeral, are preserved beneath an artificial surface, hinting at the desire to capture and retain fleeting moments or information. However, the recycled frame speaks to the inevitability of decay and the possibility of rebirth and reuse. The frame, made from recycled materials, emphasizes the primitiveness and simplicity of the materials. The bold and rough working method emphasizes direct interaction with materials and pure, spontaneous expression. This work highlights the tension between the ephemeral and the eternal, the appeal of the new and the need for sustainability, and the superficial gloss that often belies deeper, more complex realities. It encourages viewers to look beyond the surface and consider the underlying narratives and material stories.
Fragmented Perspectives (Untitled. Glossy pink), Photo print behind glossy acrylic glass
and finally, they shed light on the eternal conditions of being alive.
Colour of War, 2023, video 4´00
Conveying the intangible - emotion's colour - is no small feat. My video, "Colour of War," emerges from the depths of my synesthetic experience, where emotion takes on hues. From the reds of lockdown longing to the engulfing blackness post-February 24, 2022, this visual journey encapsulates the emotional spectrum.
Rooted in the discovery of my synesthesia in January 2021, the piece contrasts local life with global narratives. The studio, my pandemic haven, weaves together local newspapers and global audio news, bridging individual and collective experiences.
The tranquility shatters when Russia attacks Ukrainian cities, marking a turning point in the narrative. The video concludes with a poignant reminder - the announcement of a German WWII film winning Oscars -ushering in reflection on the interconnected nature of personal and collective histories.
Additional materials on my work
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