All Will Pass
Wagon, adhesive plaster. 25.5 x 3.1 x 4.3 meters. Mixed media. 2025.
The artwork is a passenger wagon, a metaphor for human life as movement through time and space. The surface of the wagon is dotted with traces of damage, reminiscent of the pain, traumas, and tragedies that a person encounters while living their life.
The artist carefully patches each damage with a simple everyday first-aid item—an adhesive plaster. This action symbolizes the attempt to soothe the pain and mend the wounds on the body of one’s own history. The plaster only partially conceals the traces, emphasizing that traumas do not disappear without a trace, but can be healed by time and care.
The installation invites the viewer to reflect on how even the deepest wounds heal over time, the pain subsides and recedes into the past, opening the way for a person to a new life.
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Video: https://www.instagram.com/reel/DMKwUQ3OwwA
The artwork is a passenger wagon, a metaphor for human life as movement through time and space. The surface of the wagon is dotted with traces of damage, reminiscent of the pain, traumas, and tragedies that a person encounters while living their life.
The artist carefully patches each damage with a simple everyday first-aid item—an adhesive plaster. This action symbolizes the attempt to soothe the pain and mend the wounds on the body of one’s own history. The plaster only partially conceals the traces, emphasizing that traumas do not disappear without a trace, but can be healed by time and care.
The installation invites the viewer to reflect on how even the deepest wounds heal over time, the pain subsides and recedes into the past, opening the way for a person to a new life.
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Video: https://www.instagram.com/reel/DMKwUQ3OwwA
All ok, Diptych
Paper, watercolor, liner, 35x35 cm, 2025.
Every person has someone who is important and dear to them. In moments of separation, parting, departure, or hospital isolation, our feelings raise one anxious question about this person: “How is he doing?”
The diptych tells the story of an attempt to find an inner anchor and self-soothing amidst this uncertainty. At its core is a simple yet powerful answer that transforms anxiety into warm hopes for the best.
The work invites the viewer to reflect on their own experiences of separation, when only hope saved them from despair and voiced the comforting: “He is ok.”
Every person has someone who is important and dear to them. In moments of separation, parting, departure, or hospital isolation, our feelings raise one anxious question about this person: “How is he doing?”
The diptych tells the story of an attempt to find an inner anchor and self-soothing amidst this uncertainty. At its core is a simple yet powerful answer that transforms anxiety into warm hopes for the best.
The work invites the viewer to reflect on their own experiences of separation, when only hope saved them from despair and voiced the comforting: “He is ok.”
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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.
