Precarious mode of living is directly reflected in the approach that I use in working with objects. It is one of the main aspects that forms my method – complete dependence on a certain place and available budget, the impossibility of long-term planning and the incapability of keeping the works after the show, the absence of irreversible manipulations with the objects, work under high pressure. 

Used domestic furnishings, appliances and found objects related to interior design are the materials for my sculptures; local thrift stores, flea markets, online marketplaces, trash containers and my friends and colleagues whom sometimes I borrow the things from – are my main sources of materials and inspiration. All the pieces are done specially for a particular space and event which also requires a certain time for work within the space itself. When the show is over the pieces are dismantled, the ‘materials’ are returned to their initial state. Shortly after dismantling, ‘materials’ are being sold or given for free to friends or strangers via online marketplaces.
Temporality and ephemerality are important qualities of my sculptures, and shimmering fluid practice is an opposition to rigid stable power structures, questioning the very concept of permanence and status quo. 

While working with the objects, I’m imagining their silent revolt, a masterly escape from utilitarian gaze and refusal to represent and perform any functions that they were meant to be produced for. I’m happy to join the objects in their sabotage. They change and exchange identities, they try out different states, they challenge each other and challenge me – and it’s never a surprise but a revelation. But does a whisper still stay a whisper when it gets as loud as a scream? 

Excerpts from the text Stalagmite Eyes, 2022.

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