fragments
FRAGMENTS is a series of works born from the deliberate reuse of discarded materials — cardboard, paper, synthetic glass and other remnants that once belonged to the margins of daily life. In this collection, the artist explores materiality not as a neutral property, but as a narrative force. Each piece hovers in the ambiguous space between what has been thrown away and what has been carefully constructed.
The works play with the tension between authenticity and artifice: are these objects salvaged directly from the trash, or meticulously crafted to resemble it? This uncertainty is intentional. By blurring the boundary between waste and artwork, FRAGMENTS invites viewers to question how value is assigned, how meaning is constructed, and how easily perception can shift with context.
The rough textures of cardboard, the fragility of paper, and the translucent surfaces of synthetic glass become active participants in the composition. Their imperfections — creases, stains, scratches — are not hidden but amplified, functioning as traces of previous lives. The artist treats these materials as carriers of memory, time and transformation.
In FRAGMENTS, the discarded becomes deliberate. Fragments of materials are reimagined as form, gesture and presence.
The series challenges the viewer to look again, to reconsider what is overlooked, and to recognize that the boundary between debris and creation is far thinner than it appears.
fragmented path
Immersive installation composed of suspended fragments of synthetic glass painted in white, pink and yellow, hanging delicately from the ceiling like a constellation of broken light. Each fragment responds to the slightest movement of air and to the shifting intensity of illumination, creating a choreography of reflections and refractions that ripple across the space. As visitors move — or run — along the pathway, the fragments tremble, shimmer and scatter colour in unpredictable patterns.
The installation invites the body into the work. Movement becomes a catalyst: the faster the viewer moves, the more the fragments vibrate, multiplying flashes of colour and light. This dynamic interaction transforms the space into a living environment, where perception is constantly shifting and no two moments are the same.
FRAGMENTED PATH seeks to recreate the sensation of nocturnal light in the city — the flicker of car headlights, the glow of streetlamps, the pulse of traffic signals, the reflections on glass façades. At night, when the city breathes differently, light becomes fluid, fragmented, restless. The installation captures this atmosphere and translates it into a physical experience, where the viewer becomes both observer and participant.
In this suspended landscape of colour and motion, the work reflects on how urban light shapes our sense of place, rhythm and time. It is a reminder that even in the quietest hours, when the city sleeps, light continues to move — scattering, bending, and drawing invisible paths through the darkness.
fundamentals of artistic practices
A quiet, intimate installation built around a single sheet of paper — a fragment of studio life elevated to the status of artwork. On this page, the artist has written spontaneous thoughts, confessions and questions about what it means to be an artist. These notes, originally private and unfiltered, capture the raw interiority of the creative process: doubt, urgency, frustration, clarity, and the fragile moments of revelation that emerge in the solitude of the studio.
The installation preserves this piece of paper exactly as it existed in the moment it was written. Nothing is corrected, polished or rewritten. The handwriting, the spacing, the hesitations and crossings‑out become part of the work’s materiality. What is usually hidden — the internal monologue behind artistic production — is brought into public view.
By presenting a studio “desabafo” as an installation, the work challenges traditional expectations of what constitutes an artwork. Instead of offering an object of visual mastery, it exposes the emotional and intellectual labour that precedes creation. It is both vulnerable and defiant: a reminder that artistic practice is built not only on finished pieces, but on the invisible foundations of thought, uncertainty and persistence.
FUNDAMENTALS OF ARTISTIC PRACTICES invites viewers to step into the intimate space of making, to witness the fragile beginnings of ideas, and to recognize that the essence of art often lies in the moments before anything is fully formed.
fundamentals of artistic practices (in my dreams)
This installation expands the intimate scale of the original FUNDAMENTALS OF ARTISTIC PRACTICES into a monumental, dream‑like environment. The work originates from a real moment in the studio: a single sheet of paper covered with the artist’s handwritten reflections on what it means to be an artist — doubts, desires, frustrations, and flashes of clarity. In a dream, this fragile page appeared transformed, enlarged to architectural proportions, floating above her like a suspended landscape of thought.
The installation recreates that dream. A giant sheet, echoing the texture and imperfections of the original paper, hangs overhead, inviting visitors to walk beneath and around it. The scale shift turns a private confession into a shared spatial experience. What was once a small, personal note becomes an immersive environment, a canopy of inner dialogue that envelops the viewer.
As visitors move through the space, they become aware of the tension between vulnerability and monumentality. The enlarged handwriting — still raw, imperfect, unedited — becomes a kind of emotional architecture. The installation suggests that the foundations of artistic practice are not built from certainty, but from the fragile, persistent act of questioning.
By transforming an intimate studio moment into a dream‑scale encounter, it invites viewers to inhabit the mental landscape of creation — a place where thoughts become structures, doubts become shadows, and the act of making becomes something vast enough to walk through.