Poetic Visual Collapse and an Attempt at Refuge

Is protection possible in a vulnerable world whose elements are constantly being built and (self)destructed? The installation creates a connection between poetry, image, and body, where different media do not simply coexist but transform into each other.

The poem ‘Dream-Land’, by Edgar Allan Poe, sets forth an emotional and conceptual state; the graphic composition translates it into a visual structure, while the clothes materialise it as volume and surface.

The result is a dystopian aesthetic with pronounced internal dynamics—a space transferred onto the body whose form is not fixed, but constantly fluctuates between presence and disappearance, between solidity and disintegration.

Swirling Life-giving Energy and Spiritual Stamina

The deep symbolic and spiritual line and the powerful Christian images, perused through folklore, that have encoded a religious and national identity, are modernly interpreted in paintings with vivid tones, organic matter, and swirling lines and shapes. The clothes, with the same freedom, superimpose ideas on forming silhouettes in pure colouration, condensed with embroidery and appliqués. The solid material sculpts, while the manual textile techniques form structures and volumes bringing to life the shapes in three-dimensionality.

Movable Architecture and Inhabited Art

The deconstructed layers in the paintings—lines, textures and colour areas—are interpreted into innovative constructions and prints on the clothing. This joint installation evokes a feeling of interflowing between the two- and three-dimensional, of immersing, conquering, and blurring the boundaries between internal and external, between body and architecture, between personal and shared.

The transformation of the two-dimensional abstraction into a three-dimensional object, the transfer of the paintings onto textiles is a tactile dialogue between brushstroke and the manipulation of matter, where art is not simply observed but inhabited.

The Hidden Body as an Absent Presence

‘The Second Skin’ may be either a canvas stretched over sculptural reliefs that come to life through the means of painting, transforming the surface into a breathing body, or a fabric modelled directly onto the body—at times outlining, at others hiding the human figure. Canvas and fabric that, in places, go beyond the proportions of the body and the frame of the painting, and enter the space. Beneath the surfaces—whether textile or canvas—presumably there is a shape that is never fully revealed. This ‘hidden body’ acts as a sensory resonator for viewers, in whose vision, touch (even if only imaginary) and spatial sensation intertwine.

In these joint installations of the artists, the garment and the painting merge into a coherent whole: the body is present invisibly but palpably through proportion, volume and potential movement. It sometimes forms itself, sometimes disintegrates in the space where the garment turns into a painting, while the painting contains such corporeality that it can be ‘worn’

Absurd Creatures and Objects from an Imaginary Children’s World

As though created by an absolutely liberated imagination of a child, the illustrative naïvistic images are transformed into tactile textile hybrids, where the boundaries between drawing, textile and object are blurred. Through tufting, voluminous quilting and screen printing, the artists produce objects with exaggerated shapes, pronounced materiality and plasticity, reminiscent of toys, drawings and absurd characters from an imaginary world, where the children’s perspective becomes a starting point for a contemporary artistic experiment.