2025
Title: There’s no one here at the moment
Type: Expanded Painting, Installation
Year: 2025
The project investigates an uninhabited family house in Eastern Slovakia that, even after twenty-seven years, remains neither completed nor occupied. Its construction was halted following the family’s departure, leaving the structure in a state of permanent suspension (perpetual under-construction). As a physical site, it lacks the lived experience of habitation, yet possesses a profound potential for memory and projection.
The artist avoids approaching the site through the lens of personal nostalgia; instead, she treats it as an open structure through which she explores the construction of memory, the concept of home, and the “unfulfilled life narrative.” Consequently, the spatial installation does not aim for a reconstruction of the house, but rather its simulacrum—a fragmentary model serving as a tool for understanding the space and its meanings through both painterly and sculptural forms.
The installation bridges physical simulations of the house with moments of subjective interpretation. Alongside architectural and interior fragments, the space features graphic interventions that consciously reference art brut as a means of intuitive perception and spatial dreaming. Here, the house is not understood as a finished object, but as a process: mental, temporal, and corporeal. The materials and objects are sourced directly from the site; thus, the material does not function as a decorative element, but as a vessel for the state and experience of the space.
An audio track, played through a wall-mounted telephone, operates with motifs of inaccessibility and silence. The spoken text, announcing the absence of inhabitants, gradually dissolves into white noise, creating a scenario of failed contact with a space that exists physically but remains unresponsive. Central to the installation is a painting of the artist’s grandmother, executed in an art brut style, which functions as a connective element between two homes and a bearer of continuity, memory, and care.
The project is conceived as an open-ended inquiry rather than a definitive output. This installation represents a temporary revitalization of an inactive site and the initial phase of research. The long-term objective is a return to the physical house to develop the project in situ through artistic residencies and further engagement with the space, its materials, and its archives.
Title: Transformations of the Body
Type: Painting
Year: 2025
A series of five paintings examining the female body on both mental and physical levels, portraying the internal processes of the body within the framework of societal influence. The works represent a metaphorical reflection of everyday life, shaped by the transmission of behavioral patterns, stereotyping, and social expectations. They address issues of identity and generational continuity, observing the transformation of the female body under social, cultural, and intergenerational pressures. The series is resolved through an archetypally stylized environment, into which the female figures are integrated. These stylized bodies co-exist and interact within the shared space, creating a visual dialogue.
2024
Title: Rock Bottom
Type: Painting
Year: 2024
Diptych from the series Rock Bottom, depicts the cyclical nature of a woman’s life, inextricably linked to her environment. In these works, the artist explores the relationship between the body and space, the fragile balance between internal and external transformations, and the symbolic power of “rooting” as a process of renewal. The diptych reflects a universal experience of change, emerging from the dialogue between one’s inner world and their external surroundings.
The work Earthly Cradle represents a subsequent phase of transformation, undergoing a positive process of physical and mental restoration. It expands into the space, intertwining with the natural environment. Here, the act of rooting symbolizes a return to foundations—a convergence of past and present in the search for a new essence. The painting highlights the power of rebirth through the intersection of endings and new beginnings.