In progress…
This project explores the fragile threshold between a sanctuary and a "beautiful enclosure," rooted in my experience of eight years of remote living following relocation to rural Georgia.
The work investigates a common human paradox: the drive to construct a safe, curated "inner world" that over time subtly transforms into a poetic cage. Through the lens of this self-imposed isolation, I examine the ambivalence of the refuge - a space that provides comfort while simultaneously becoming a boundary that is increasingly difficult to transcend.
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I
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Glass, stone, smalti, cement, wood
50x55 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
50x55 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
II
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Glass, stone, smalti, cement, wood
47x48 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
47x48 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
III
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$
Glass, stone, smalti, cement, wood
47x36 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
47x36 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
IV
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$
Glass, stone, smalti, cement, wood
61x50 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
61x50 cm
2026
The series of glitched daffodils serves as the ornamental landscape of this "beautiful enclosure." These forms represent fragments of an external reality brought inside - a curated garden that exists within the boundary of isolation.
While the central cage holds the light, these mosaics line the perimeter to mark the edges of the sanctuary. Their distorted patterns reflect the way beauty is perceived through the lens of long-term solitude.
The choice of permanent materials like stone and concrete mirrors the solidifying nature of the refuge, where the act of creation becomes both a comfort and a reinforcement of the cage. These flowers do not bloom - they remain frozen in a state of digital and material error, echoing the ambivalence of a space that is both a garden and a cell.
She And the Shell I
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Oil on canvas, acrylic, oil pastel, textile, beads.
76x96 cm
2026
These paintings visualize a comfortable world that has collapsed inward. Enclosed in a shell of tulle and pearls, the figure is absorbed by her own sanctuary. The work represents the final stage of isolation - where the domestic space becomes a soft, self-contained universe that both protects and consumes the individual.
76x96 cm
2026
These paintings visualize a comfortable world that has collapsed inward. Enclosed in a shell of tulle and pearls, the figure is absorbed by her own sanctuary. The work represents the final stage of isolation - where the domestic space becomes a soft, self-contained universe that both protects and consumes the individual.
She And the Shell II
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Oil on canvas, acrylic, oil pastel, textile, beads.
96x76 cm
2026
These paintings visualize a comfortable world that has collapsed inward. Enclosed in a shell of tulle and pearls, the figure is absorbed by her own sanctuary. The work represents the final stage of isolation - where the domestic space becomes a soft, self-contained universe that both protects and consumes the individual.
96x76 cm
2026
These paintings visualize a comfortable world that has collapsed inward. Enclosed in a shell of tulle and pearls, the figure is absorbed by her own sanctuary. The work represents the final stage of isolation - where the domestic space becomes a soft, self-contained universe that both protects and consumes the individual.
Sketch of the installation
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Inner shelter
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Silicone, starch, glass, steel wire
29x24x9 cm, 50x20x10 cm, 29x22x9 cm
Grounded in Gaston Bachelard’s The Poetics of Space, this series materializes the concept of the intimate shelter. I explore how the archetype of the home can be embodied within the physical volume of a vessel. The work transforms a utilitarian container into a somatic dwelling where memory and solitude settle.
Throughout the series, the classical amphora undergoes a formal mutation. It gradually evolves from a rigid archaeological artifact into an organic bodily form. The resulting shell acts as a house within a house. It functions as an internal sanctuary designed to protect vulnerable psychological experiences.
The chosen medium - a mixture of silicone and starch - drives this conceptual duality. Visually, the sculptures resemble petrified casts excavated from deep time. Tangibly, the material mimics the warmth of living skin. Starch anchors the objects in the domestic routine of care. Meanwhile, silicone introduces the aesthetic of a contemporary prosthesis or a protective membrane. This tension generates a state of elastic archaeology. The vessels appear to belong to the past, yet they continue to breathe and hold the latent volume of inner space.
29x24x9 cm, 50x20x10 cm, 29x22x9 cm
Grounded in Gaston Bachelard’s The Poetics of Space, this series materializes the concept of the intimate shelter. I explore how the archetype of the home can be embodied within the physical volume of a vessel. The work transforms a utilitarian container into a somatic dwelling where memory and solitude settle.
Throughout the series, the classical amphora undergoes a formal mutation. It gradually evolves from a rigid archaeological artifact into an organic bodily form. The resulting shell acts as a house within a house. It functions as an internal sanctuary designed to protect vulnerable psychological experiences.
The chosen medium - a mixture of silicone and starch - drives this conceptual duality. Visually, the sculptures resemble petrified casts excavated from deep time. Tangibly, the material mimics the warmth of living skin. Starch anchors the objects in the domestic routine of care. Meanwhile, silicone introduces the aesthetic of a contemporary prosthesis or a protective membrane. This tension generates a state of elastic archaeology. The vessels appear to belong to the past, yet they continue to breathe and hold the latent volume of inner space.