Page 91 - Winter Issue
P. 91

You’ve  noted  that  you  reinterpret  the  female  form  using  inspiration  from  Greek  antiquity  and
             modernism. Could you describe the visual language you’re creating through this blend of historical and
             modernist perspectives?
             When I start a sculpture, my main inspiration is almost always antique busts and torsos. I’m gradually exploring new
             ways to incorporate abstraction into them, often through the use of geometric elements and sharp lines seen in modern
             sculpture, for example in the works of Henri Laurens.
             Your shift from a different career path back into art is fascinating. What prompted this change, and how
             has your previous experience influenced your current practice?
             I still have a regular job, but I started freelancing almost two years ago, which has allowed me to spend more time on
             sculpture and painting. The more time has passed, the more I wanted to create. I’m constantly thinking about new ideas
             and shapes.
             What  do  you  hope  to  achieve  with  your
             exploration of femininity and the subconscious in
             your  work?  Are  there  specific  dialogues  or
             emotions  you  aim  to  inspire  in  those  who
             experience your art?
             There’s no specific goal, no dialogue or emotion I hope to
             achieve. I don’t plan the outcome; they simply capture a
             fleeting feeling, a state of mind, or a concept — they are
             always open to individual interpretation.





                                     Stoneware, ceramics, 17x11cm, 2024








             Earthware ceramic, 17x13cm, 2024                                        Earthware ceramic, 15x11cm, 2022































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