Since I am confident enough in what interests me and where I am going, I do not want to spend time on creating a Zine, but simply I am going to present my works that describe and reveal the essence of my creative activity.
Artist Statement
In my artistic practice, I explore the evolving landscape of post-conflict visual culture, where the mass media and digital era's impact on our perception of reality intersects with deeper themes of belonging and social change.
Using unconventional materials such as recycled newspapers and construction debris I seek to evoke visceral emotions and complex narratives that emerge from conflict. By integrating these materials, I aim to go beyond materiality and concepts, creating artworks that resonate on both personal and universal levels.
Central to my practice is the desire for clarity and truth during the fluidity of post-Internet art. I challenge traditional notions of originality and authenticity, inviting viewers to recognise the importance of personal experience and vulnerability in an era dominated by digital media and opinion manipulation.
My artistic vision goes beyond traditional art spaces, including urban installations and digital works. By using a bold, natural, and sometimes awkward and clumsy approach, I aim to capture the subjective narrative, imperfection of physicality, and vitality of our world to stimulate dialogue around the conflict, aesthetics and the timeless conditions of being alive. Through my work, I strive to challenge norms, provoke thought, and inspire empathy, cultivating a deeper understanding of the human experience - our shared struggles, joys, and the continuous desire for the meaning.
01 Temporary Permanence
Story and Context"Temporary Permanence" is a work that reflects on the fragile line between what stays and what fades away. It was created in the Baumwollspinnerei in Sankt Ingbert, Germany, a place with a long history. The building used to be a busy textile factory and then a Bundeswehr medical depot, but now it's a monument to the past and the subject of constant debate in the press. My work connects with this history, thinking about how time changes everything and how we remember things—or forget them.
I was inspired by artists like El Anatsui, Christo and Jeanne-Claude, and Richard Serra. They use space and materials in ways that make us see things differently, and I wanted to create a similar effect. This piece is about how we interact with the spaces we live in and how those spaces change over time, just like our memories do.
Materials and TechniquesFor this installation, I used recycled newspapers, wood frames, and metal grids. The newspapers are key because they bring news that quickly becomes old and forgotten, just like our memories or even the building’s past. I didn’t treat the newspapers to protect them from the weather because I wanted them to decay over time. This shows how fragile everything we create really is. The physical process of making these panels was repetitive and tough, just like the hard work that used to take place in the Baumwollspinnerei.
The colours—red-orange on one side and green-yellow on the other—change as you walk around the building. This shifting colour represents how things look different depending on how you see them, much like how our perceptions and understanding can change based on where we stand or how we think.
MeaningThis installation connects to how we live today, especially with how much we rely on digital media. Newspapers are a good metaphor for this because they give us information that seems important but is quickly replaced by something new. In today’s digital world, we trust what we see on screens, but the physical world might tell us a completely different story.
Connection to My Practice"Temporary Permanence" is a good example of the themes I explore in my art—how the physical world and digital realities intersect, how we experience change, and how we remember or forget things. By using newspapers, I take away the words and meaning and focus on the colours and materials, so the work speaks through emotion and sensation, not language. I want people to question how they perceive the world, how easily those perceptions can be influenced, and what is truly real.
This project is about perceiving yourself in something physical to see what lies beneath the surface. It’s my way of showing that our perception of reality isn’t fixed; it shifts just like the colours in this installation.
1 panel = 245 x 116 x 10 cm. Total size: 245 x 696 x 10 cm
02 Between
Between, 2023, recycled newspapers, acrylic, water-based fixatives, plaster on canvas, 118 x 158 x 11 cm.
The art piece focuses on the idea of change, both in colour and in meaning. One side shows bluish tones, while the other shifts into pink-red, creating a feeling of transition between two different states. This reflects how our perceptions can change depending on how we look at things, just like how information and reality are constantly shifting in today's world.
In this work, I use newspapers to show how stories are manipulated or forgotten, but here, they take on a new life. The crumpled texture gives a physical sense of how fragile and temporary information can be. It also plays with synaesthesia, where colour evokes not only visual but emotional and sensory responses. Inspired by Rothko’s colour fields, I’m fascinated by how colour alone can create depth and emotion. Between is about how we experience things that are neither fully one thing nor another, reflecting the instability of life, especially in a world shaped by media and conflict.
This connects to my larger practice of using everyday, recycled materials like newspapers and debris to evoke visceral emotions and narratives. My work is about challenging how we see the world, and “Between” continues this exploration of how information, perception, and reality are never fixed but always in motion.
03 Fragmented Perspectives (Temporary Permanence)
Fragmented Perspectives (Temporary Permanence), 2024, Inkjet print on fine art paper
Series of photography, Fragmented Perspective, emphasises the contrast between digital media's temporary, sometimes unreliable nature and the enduring presence of physical objects. In this set of photographs taken from my Temporary Permanence installation, you can see the newspaper work interacting with the building’s wall, which is covered in colourful graffiti. The work becomes part of the space, creating a conversation between the art and its environment.
The idea behind this series is to show how art and reality connect in unexpected ways. The newspapers, representing manipulated or forgotten information, seem to blend with the graffiti on the wall, which feels spontaneous and vibrant. Together, they create a fragmented perspective of how we see and understand the world around us. This project is about more than just capturing the physical space — it’s about the dialogue between what’s temporary and what feels permanent, and how our perceptions shift when these elements come together.
04 Divergent
Divergent, 2024, acrylic, newspapers, canvas, screws, cardboard, sand, сhipboard, paint, fixatives, wood, 64 x 59 x 11 cm.
Divergent is a piece that combines newspapers with debris and building materials. It plays with the contrast between what’s fleeting and what’s solid. The newspapers represent manipulated information, something unstable, constantly shifting like a dream. Meanwhile, the wooden elements are structured and rigid, representing the physical, grounded reality.
In this work, I wanted to explore how these two worlds — the ephemeral and the physical — interact. It’s like being caught in a dreamy fake news, while surrounded by something harsh and structured. The tension between these elements is what makes the piece feel alive, bringing up questions about how we process information and what we consider real or stable.
05 Duality of Discourse
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 represents the border between truth and deception, fragility and strength, through contrasting elements. The upper half, comprised of newspapers painted white, reveals 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 my studio represents resilience and solidity. This juxtaposition of opposing materials and colours reflects the complex interplay between conflicting narratives and the enduring search for truth in a post-conflict world shaped by digital media and propaganda.
06 Fragmented Perspectives No 1 (Perfectly Imperfect)
Fragmented Perspectives No 1 (Perfectly Imperfect), 2024, Inkjet print on fine art paper behind glossy acrylic glass 4 mm., Dibond 3 mm, aluminium rail, 53,3 x 40 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 speak about the tangibility and trust inherent in physical materials.
Through detailed photographs of my hyper-tactile sculptures, I emphasise the contrast between digital media's temporary, sometimes unreliable nature and the enduring presence of physical objects. These images present intricate textures and forms, challenging the viewer to consider the authenticity and permanence of what they see.
This is a photograph of one of my sculptures, zoomed in to show the intricate details. I’ve been thinking a lot about how propaganda works — how it carefully selects information to show just parts of the truth. This inspired me to focus on individual textures and forms in my work that people might usually miss.
By enlarging in on these small details, the photograph opens up new ways of looking at the sculpture. It asks viewers to think about how we interpret what we see — what happens when we only get part of the picture. The contrast between the physical sculpture and the digital photograph also brings up interesting questions about form and content, what’s real and what’s just a representation. It’s all about how we experience things, from the big picture to the smallest detail.
07 Fragmented Perspectives (Palimpsest of the Mind)
Fragmented Perspectives (Palimpsest of the Mind), 2024, Inkjet print on fine art paper behind glossy acrylic glass 4 mm., dibond 3 mm, Fuji Crystal Archive glossy, aluminium rail, 120 x 90 x 1,7 cm.
Fragmented Perspectives (Palimpsest of the Mind) is a photograph of a small sculpture (40 x 26 x 15 cm.), but the image is blown up to a much larger size, creating a sense of disorientation. This contrast between the actual size of the sculpture and the photograph plays with how we perceive things—what’s small becomes monumental, forcing us to engage with it differently.
My work often explores the balance between the digital and physical worlds. In today’s digital age, where manipulation and distortion are common, I’m interested in highlighting the honesty and reliability of physical materials. By enlarging such a small detail, I invite the viewer to look deeper, to see the complex textures and shapes that might usually be missed.
The photograph asks us to think about what’s real and what’s not—how do we interpret something when it’s out of scale? This work challenges us to question the connection between the original object and its representation, and it pushes us to consider the difference between the fleeting nature of the digital and the solidity of the physical.
08 Rack
Rack, 2023, recycled wood, fur; acrylic paint, screws, plaster, 73 x 53 x 39 cm.
This sculpture explores the themes central to my practice - the subjectivity of perception, synaesthesia, and the tangibility and trust inherent in physical materials and how this differs from the digital world
I am fascinated by the tangible qualities of physical materials, the trust they invoke, and how they contrast with the instability of the digital world. The combination of organic elements like wood and fur with the bold, simple structure of the object creates a tension between natural forces and human-made structures. This interplay represents how we might see the blurred lines between reality and perception, where everyone experiences physicality differently, through both sensory input and emotional reaction.
By emphasizing texture and materiality, Rack asks viewers to engage deeply with what they see and feel, reminding them that imperfection is not a defect or flaw but part of the experience. The piece is an invitation to embrace the unique ways we each perceive and interact with the world around us.
09 Perfectly Imperfect
Perfectly Imperfect, 2024, acrylic, newspapers, burlap, screws, cardboard, metal grid, sand, сhipboard, paint, fixatives, wood, 46 x 54 x 40 cm.
'Perfectly Imperfect' continues my artistic research of how we engage with the physical world through visceral emotions and a sense of playfulness. In this sculpture, I think about the messiness of creation, combining materials like acrylic, newspapers, burlap, and metal to challenge traditional expectations of what a sculpture should be. The result is a piece that feels spontaneous and free, while still retaining a sense of structure.
The tactile qualities of the work invite the viewer to experience the materials not just visually, but through an imagined touch. The rough textures and raw edges contrast with more polished elements, presenting the tension between chaos and control, order and disorder—a theme running throughout my practice. By combining disparate materials, I emphasize the human connection to the physical, offering a counterpoint to the gloss, illusional nature of digital spaces.
This sculpture, with its raw authenticity, captures the playful spirit of anti-sculpture while also engaging with the deeper emotional responses that arise from interacting with imperfect, tactile objects. 'Perfectly Imperfect' encourages viewers to enjoy the joy of physicality and the aesthetics of the raw and unfinished, challenging the idea that perfection is a necessary goal in art or life.
10 Parasite
Parasite, 2022, recycled wires, newspapers, plastic; paint, construction foam, plaster, 100 x 85 x 40 cm.
'Parasite' is a sculpture deeply rooted in the themes of media manipulation and propaganda, in the context of the 2022 war in Ukraine. The use of recycled wires, and newspapers reflects the tangled mess of misinformation and the deliberate spread of false narratives during this time. The wires represent the channels - TV, the internet - that carry these distorted messages, while the newspapers symbolize the propaganda itself.
This sculpture connected to my broader artistic practice, where I explore the tension between physical reality and the manipulation of information. By using everyday materials that are often ignored or discarded, I emphasize the raw, tactile experience of confronting these complex issues. The chaotic arrangement of materials in 'Parasite' reflects the overwhelming nature of misinformation, creating a visceral response from the viewer.
Like my other works, 'Parasite' invites an emotional and sensory engagement, challenging the viewer to confront the fragility of truth in an era dominated by media distortion. This piece, while a reflection on a specific political moment, also speaks to the themes of trust, reality, and perception that are apparent in my practice. It’s a reminder of how easily narratives can be twisted and how important it is to seek out clarity in a world full of digitally manipulated reality.
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