In my practice

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I introduce elements of drawing into sculptural works and vice versa. For example, I use mark-making inherent to drawing in my sculptural works and turn sculptures into protagonists of my drawings. On the other hand, I use sculptural process and materials for my drawings, including molten and sawn metals, wax and glass.

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My work on hybrid objects is informed by critical animal studies but reflects on artistic response as different to scientific or activist approaches. This concern dictates the choice of highly adverse materials. It also articulates with a deliberate address to embodied state of the viewer.

Such approach results in suspension of the artistic control. While working three-dimensionally, I intentionally alternate every own step with a pose. This interval offers to materials and processes a time for response that conditions my next step. The materials and processes become none-human actors and collaborators of these works.  

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Using reversible materials like tin, glass splitters and old textiles for my practice. Formal solutions are often rooted in a research on ethnic crafts or based on a playful recontextualization of the applied art techniques.