According to anthropological research, in ancient myths the supreme divine entity was conceived as a harmony of the masculine and feminine principles.

 Later, this unity was divided into two opposing halves: the feminine (Earth) and the masculine (Heaven). 

 My project explores that prehistoric era when these two parts existed in perfect union. It is a visual metaphor showing that the opposing aspects of the personality are inextricably linked, forming a single whole. Through these images, I speak of inner harmony and of returning to oneself. I use masks for the project. Each photograph symbolises not only protection but also transformation. 

The mask becomes the boundary between the real and the fantastical, a place where the protagonist undergoes their journey of initiation, embracing all facets of their ‘self’. This concept is also realised in sculptural objects: the masks are embodied in three-dimensional forms, surrounded by natural altars made of branches, moss and bark. 

Here, there are no clear boundaries between the real and the fantastical, the natural and the supernatural. In this context, my work becomes not only an exploration of the personal, but also a quest to hear the call of the ancestors, which permeates time and space.

 On the technique: The works are based on the artist’s photographic portraits, which are then hand-embroidered with beads and authentic natural materials: natural river pearls, amber and coral. Three-dimensional frames are created individually for each piece, transforming the two-dimensional image into a tactile sculptural object. The project also includes sculptural objects: the artist’s masks, created from plastic and acrylic, complemented by branches, moss, bark and inlays of the same semi-precious materials. These objects represent sacred altars, embodying duality and transformation. 

 Each work is unique and exists as a one-off piece.