ABOUT PROJECTS
The development of my contemporary wearable sculptures and adornments emerges from an intersection of personal experience, bodily awareness, and an ongoing investigation into the relationship between the human body and material form.
My work is deeply rooted in lived experiences moments of vulnerability, physical and emotional tension, and transformation. During the development of my “Volumetric Nanoart” project, I was simultaneously confronting my son’s health challenges and my own physical condition. These experiences became a catalyst for the formation of the Metastasis series.
Engagement with microscopy, nanotechnology, and visual research led me toward a world of abstract patterns and organic structures, where material began to reflect internal psychological and biological states.
At a certain point, my perspective shifted. Instead of focusing on absence, fear, or dissolution, I became immersed in the beauty of forms, textures, and patterns.
I began to understand that, by creating a distance from personal fears and observing more deeply, the structures present in nature whether microscopic, terrestrial, or cosmic reveal a profound visual and emotional harmony.
This shift allowed me to move beyond confinement and re-engage with material, form, and color as sources of freedom, transformation, and continuity.
The studio gradually transformed into a laboratory for material exploration, where I moved beyond the limitations of traditional approaches to volume and form. This shift allowed me to develop a more intuitive and experimental language, responding directly to internal and external tensions.
The project From the Depths marks the beginning of a new phase in my practice. Following a period of physical recovery and emotional instability, my nights became filled with fragmented images and recurring dreams.
One of these visions an underwater scene of suspended bodies, drifting between fear and survival became a central metaphor. These forms, once unfamiliar and unsettling, gradually transformed into presences that inhabit the body rather than threaten it.
What once evoked fear and dissolution evolved into a language of coexistence, transformation, and embodied experience.
The relationship between the human body and the mind has always been at the core of my work. During a period marked by my youngest son’s illness, alongside my own physical condition, I encountered an intense emotional and psychological landscape that demanded translation.
This experience became a turning point providing a channel through which personal pain could be transformed into visual and material form.
The conceptual foundation of this project emerged from an engagement with microscopic imagery, pathogenic structures, and cellular formations where biological processes became metaphors for vulnerability, mutation, and resilience.
The discovery of beauty within painful experiences led me to distance myself from a purely individual perspective and to observe more deeply the structures and patterns that exist beyond the self.
I became increasingly drawn to the hidden forms and colors present in natural systems whether in microscopic environments, oceanic depths, or cosmic formations. These visual parallels expanded my perception, allowing me to see continuity between internal experience and external phenomena.
This process evolved into an ongoing visual search, where abstraction became a language through which I could translate complex emotional and biological states into form.
As the work developed, the act of making shifted toward embodiment. I sought materials capable of expressing contrasting sensations fragility and resistance, fear and beauty, tension and transformation.
Through experimentation with both natural and synthetic materials, the studio became a site of investigation. Moving beyond conventional material limitations, I focused on discovering forms that could carry sensory and emotional depth.
Material behavior, flexibility, and expressive capacity became central to the development of each piece.
The project itself emerged during a period of physical recovery. In this transitional state, sleep became fragmented, and recurring dream-like images began to surface at once poetic and unsettling.
Among them, the image of submersion of drifting within an unfamiliar, underwater environment became a persistent motif. These visions, once associated with fear and disorientation, gradually transformed into a source of visual and conceptual inspiration.
What initially appeared as threatening or unknown evolved into a field of exploration where unfamiliar forms became integrated into the body, and fear gave way to curiosity, transformation, and acceptance.
