The work EXXON VALDEZ– OIL SPILL– PELECANUS CRISPUS reflects one of the most destructive manifestations of human interference with nature: the formation of an oil spill. The work highlights the moment when animals covered in oil lose their ability to survive, and death becomes the inevitable consequence of human error, negligence, or even deliberate disruption and damage to the ecosystem. The Dalmatian pelican, whose population was severely affected by environmental disasters in the Persian Bay, has become a symbol of these numerous disasters on bodies of water. The objects were created from waste material, which underscores the theme of destruction and the irreparable traces that humans leave behind in the landscape.

What is fragility? What is the core of being fragile? Where does it come from? Where are the borders and the critical point when our memories and thoughts become fragile? How things could be so fragile? How could be thoughts be so fragile? How could be memories so fragile? When do we realize that something is fragile to us? It is possible to feel fragility of our own transformation into something strong? What does it feel like when we do realize it? What is our ideal state of mind when we accept our own fragility? How to get rid of our fragile forms? Or should we feel calm even if we feel fragile? Maybe yes. For me it is okay to feel fragile. 
    Because if we feel fragile, we can still feel our own strenght. We are dancing around our own fragility, trying to reach something more stable, thats gonna keep us on the point, where we won’t fall down into the fragile lake. But dont be afraid, be fragile, feel the tences, feel the moments when we realize, that we all are made of flesh and bones. We are so used to be powerfull and racional out there. Every day….

A series of objects that tells a story of motherhood and the relationship between a mother and her child. To tell this seemingly simple yet actually complex story, I drew on the principles of representation found in medieval iconography. The ideal image of the Madonna and Child is here expanded upon in detail to include all its complications and hardships. Behind these symbols and icons lie many reasons and stories, just as wax icons are hidden and well-protected inside concrete caves, whose surface and thus also their core are protected by wax.

This tetraptych is accompanied by a four-chapter linocut strip. 
One chapter – one color – one icon 
– one cave – 4 chapters – 4 icons 
– 4 caves – 1 story

What form does the space of our dreaming take under the influence of our subconscious, which is able to connect the real and the surreal? How many layers does a dream have? What does it consist of? How can we influence what we dream?

The installation explores the subconscious through recurring dreams and nightmares, which I record and transform into material form. The bronze object is a materialization of a recurring nightmare, surrounded by layers of wax that represent the shifting dreamscape and the boundary between reality and fiction.

Encaustic pieces represent the visualization of dreams. It is a process of visual documentation based on dream journals written immediately upon waking.

The written form is transformed into a visual one.

What if human experiences and emotions are shaped into the animal forms and bodies? These creatures, carved into parafin and filled up with ink as a tattoo represents memory. Shaped into the circle it's a symbol of constance and repetition.