No views yet
Frosted glass, acrylic, glass painting, 40x40 cm, 2025.
The work is dedicated to the anxious anticipation of attention in the era of human digital loneliness, where virtual space substitutes social skills and connections.
It is created on the back of frosted glass, metaphorically referencing a smartphone screen through which people view the world or live their lives.
The work is dedicated to the anxious anticipation of attention in the era of human digital loneliness, where virtual space substitutes social skills and connections.
It is created on the back of frosted glass, metaphorically referencing a smartphone screen through which people view the world or live their lives.
Ladder of Virtues
NLAW rocket, soil, Epipremnum vine, tree, acrylic.
The work explores the phenomenon of human moral choice in the context of personal and societal interests. The installation draws on the seven deadly sins of Christian tradition, which lead people to evil, though they sometimes make existence easier and simpler. Life in society implies that individuals must make efforts, primarily over themselves, to protect against destruction and self-destruction, the most terrifying and direct path to which is war.
At the core of the installation is an object symbolizing absolute destruction, the ultimate outcome of the seven deadly sins. A plant, as a symbol of life, is juxtaposed against it, though it remains closely intertwined with it. The duality of the object is crowned by a ladder of virtues—a path through which a person can rise above evil. Each step of this ladder serves as a reminder of humility (Humilitas), generosity (Liberalitas), chastity (Castitas), kindness (Humanitas), temperance (Temperantia), patience (Patientia), and diligence (Industria), guiding a person toward spiritual growth.
This path is not easy; it demands effort to overcome oneself and one’s inner demons. To those ascending from the lower steps, the seven deadly sins are revealed: pride (Superbia), greed (Avaritia), lust (Luxuria), envy (Invidia), gluttony (Gula), wrath (Ira), and sloth (Acedia).
They offer temptations and seductions, the ultimate outcome of which is singular — a return to evil.
The work explores the phenomenon of human moral choice in the context of personal and societal interests. The installation draws on the seven deadly sins of Christian tradition, which lead people to evil, though they sometimes make existence easier and simpler. Life in society implies that individuals must make efforts, primarily over themselves, to protect against destruction and self-destruction, the most terrifying and direct path to which is war.
At the core of the installation is an object symbolizing absolute destruction, the ultimate outcome of the seven deadly sins. A plant, as a symbol of life, is juxtaposed against it, though it remains closely intertwined with it. The duality of the object is crowned by a ladder of virtues—a path through which a person can rise above evil. Each step of this ladder serves as a reminder of humility (Humilitas), generosity (Liberalitas), chastity (Castitas), kindness (Humanitas), temperance (Temperantia), patience (Patientia), and diligence (Industria), guiding a person toward spiritual growth.
This path is not easy; it demands effort to overcome oneself and one’s inner demons. To those ascending from the lower steps, the seven deadly sins are revealed: pride (Superbia), greed (Avaritia), lust (Luxuria), envy (Invidia), gluttony (Gula), wrath (Ira), and sloth (Acedia).
They offer temptations and seductions, the ultimate outcome of which is singular — a return to evil.
