[2020, activated sculpture]

6 stones: I – 1045 g, II -1647 g,… the sum of their weights is equal to the “mother stone” they are all cast from. Fragile balance of mother stone and her copies shifts with humidity and micro-tensions releasing the sound of friction, that resonates in the whole bodies of “children stones”, as if they were singing choir responding to the lullaby of their mother. 

[2018, photos, paintings, mirrors, space]

A new cosmology model suggests that our Universe has a mirror image in the form of an antiuniverse that existed before the big bang. From a certain vantage point, our Universe looks lopsided. Time runs forward as space expands, and there’s more matter than antimatter. — M.Schirber about CPT-Symmetric Universe

[2018-ongoing, series]

In my works the objects and sculptures are always alive, they always have history and particular relations in-between, with me and a space. They have their processes and their intentions that I progressively want to help them to explore. Sometimes like people they pretend, lie, get confused, the sing, and they die.

important residue
[2020, porcelain, family archive documents]

In fear of meeting the past I would take a memory – a document – put it in liquid porcelain and fire it. The porcelain keeps the memory of the object and encapsulates its past, creating with aches the drawing of its future.

My maternal grandparents met when they were teenagers in the queue to receive the rehabilitation papers of their prosecuted fathers. After years of their researches, governmental archives would refuse or leave with no answer requests to give information of what actually happened and access to their full story. When we recently got access to the archive of both evidentially falsely accused of being spies great-grandfathers, it was hard to avoid it in my work, but too heavy to work with their content, so I turned to working on the form, that, I believe, has the memory of what it’s carrying (similar to the description in Paper series further).

hyalus canticum
[2020, musical instrument object]

The instrument is played with a technique similar to saxophone. The unique construction with multiple connected glass blown vessels gives multi-phonic character to the sound. The ink and water mixing in the vessels are influencing the sound and the reflections that fill in the space. It is composed of 3 basic materials: crystal glass, metal and wood, that were all reinterpreted. The wood is carved to the shape that gives us an impression of its softness and flexibility, embracing the glass vessels. The metal is so thin that the whole object seems on the limit of its balance and fragility.

[2020, plaster, silicone, plasticine]

Pseudomorphosis is the phenomenon whereby one mineral presents itself with the appearance of another mineral – the shape of the first mineral is retained, while the original mineral has been replaced. Perimorphoses (from the Greek peri, around, and morphê, form), constitute a special case: they keep in memory the outer envelope of the original mineral.

the machine / Desinfection!!!!
[activated installation, 2020]

From silent immobility to the limit of saturation of sounds, movements, smells … Howling pipes, sprinkles, twisting hoses, expanding shapes appear like orchestrated complex score leading to climax of foam explosion that leads to gradual diminuendo. Leaving the memory of sound in the head and only fragile sound of popping vanishing on our eyes foam.
Mémento mori of pandemics.

memory potentials
[2019-ongoing series; porcelain, plaster]

Paper. It is a silent presence of potential. Already an object charged by unrevealed yet destiny. The beauty and danger of an empty page is in the fact that it can become almost anything that can affect in any possible way anyone. Its emptiness is charged by this uncertainty that could be its future. 

One rabbi once explained to me that animals know when they are going to die: sheep some hours before, cows almost a day and pigs even 24 hours. So they don’t eat pork, because the animal feeling his death toxicates his body. It tastes and smells like death. The trees “feel” and predict seismological activity.  The water can have different particles structure depending on its history. If you really look at the sheet of paper you can probably read it’s future, that future that will most likely will change yours. I think paper has memory of it’s past and feels its future. So it already shapes itself for it.

Paper has become a graphical and verbal memory support. This is why it is so close to one other material – plaster – that is a memory material of volume. Death masks, casting, reproduction of sculptures, plaster print of baby foot. The verbal and graphical content is stored on paper, the volume – in plaster.  But what is given to one is taken from another. One is scared of fire, the other is cared of water. To reborn paper – you need to soak it, to reborn plaster – you need to burn it. The other to complete the memory trio is porcelain – it does remember its shape, it will reflect it after firing. It is born in water and fire and is the memory of light.

I just wanted to steal and capture that moment in-between the after-death and pre-birth, between anticipation of new life and memory of his past fixing it in a volume memory of his object integrity. So going from paper to object I wanted to monumentalize it through the memory of volume – plaster, and memory of light – porcelain.

[2019, plaster, 210 mm × 297 mm]

A series of sculptures and performance to destroy, shuffle and reassemble pieces or family archives – the repression folders of both maternal great-grandfathers. They were both falsely accused of being spies and prosecuted, leading to my grandparents meeting while queuing to receive the rehabilitation papers.

[photo book, installation, web-project; 2019-ongoing]

On a long journey every part of the view starts to smudge, loop, merge, and you become unsure if you already saw what you see. It seems to echo your mind flow and intertwine with your memories. You unconsciously place ideas and feelings on the trees and valleys, sometimes leaving them there forever. From the journey you will keep only some flashes, colours, smells and names of stops… Here they sell toys, here they sell glass, here you probably need to be careful.

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