Everything that happened before it all started

Through experimentation with various painterly and sculptural techniques, I intended to explore how the obstruction of vision can influence the viewer's perception and interpretation of the artwork. In particular, by working with deconstructed and reflective surfaces in painting, I’m aiming to create dynamic compositions that invite viewers to interact with the artwork from different perspectives, thereby challenging their preconceptions of reality.  Starting working from family photo archive in my painting practice, yet I’m trying to move from concrete personal story and instead explore more broad and universal language. By translating of human experience into more abstract situations and gestures, I eager to create works that resonate with viewers on a deeper, more profound level, transcending individual narratives to evoke a sense of shared human practice of hope and interconnectedness. Working with metal construction and using building materials I’m trying to recreate a feeling of home, which is rather a skeleton of a future/past/present house. This house does not really fit into the local structures, it does not fit into the overall picture, it interferes, it is superfluous in the existing space and gives a feeling of incomprehensible in the state between. It is an allegory of my feeling about existence in the world, in the artistic community and in artist’s practice in general. It is a frame that supports painting, it creates a wall for it and also carries a lot of sentimental memories.  Circumstances force tender, sentimental feelings and memories to be tempered in such a way as to survive the “winter”, to stay alive for a moment longer. By giving my memories a chance to be a truth to others too, I wished to give a body to indescribable feelings and to give a voice to the past and reveal what is usually hidden - the fossilized witness-plants, for whom time has stood still. To save a tenderness from time turning it into a stone.