kadić
This work is rooted in the themes of grounding, gentleness, and hope—expressed through softness, silence, and subtle transitions. It emerges as both a reflection and a creative impulse, inviting inner dialogue while remaining open to the participation of others—whether through written words or by sharing their own creations. At its core lies a reverence for the divine within each of us—a flame of freedom and creation that burns quietly but persistently. The installation invites active presence—not through noise or urgency, but through peace, receptivity, and quiet discovery. It is a space of silent presence—a place that gently reminds us of our essence: that we are both root and flame. We create because we exist. At the heart of the work stands a sculpture of a woman, embodying the guardian of this space—a personification of creation itself and of silent strength. She is inspired by the Slavic goddess Mokosh. A single thread connects her to a mirror, symbolizing the soul. The mirrors, though fragmented, contain a center—a still point through which all parts may one day return to the One. This is not a space for passive observation, but one for embodied experience and felt presence. I enter it as both tender and strong—and I invite others to do the same.
The anxiety stemming from the inherited rug, primarily due to its misfit in my living space, began to infiltrate the creative process. The weight of responsibility toward this heritage started to engulf me, a constant reminder of the hands that wove it and my inability to form a deep connection with them. It serves as a portal connecting me to my ancestors, bridging the gap between the present and eternity. Within this portal, colors spill and disintegrate. The small drawings—mere samples—represent an attempt to unravel the secrets and forge new forms, each possessing a life of its own.
This artwork was created during an artist residency in Tepelene, Albania. The installation was placed in the children's playground within the grounds of the school in the village of Luzat, which is no longer in operation.
“Everything is to blame for the rapid disintegration of time, over which there is no constant vigilance to keep watch.” Sanatorium Under the Sign of the Hourglass, Bruno Schulz As I work on the tree trunk, whose form reminds me of a human figure, I reveal its refined and smooth core. By removing what is old, rough, decayed, and dry, a transformation takes place. Space for new forms is created through decomposition and disintegration. The threads woven through the already dried leaves represent the desire to preserve that which cannot be preserved. The old, dried leaves symbolize the objects of those desires, beneath which lies a pure soul. Only dedication and patience can reveal true nature. Rebirth is a process that does not begin at the surface but emerges from the depths.
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Bachelor's thesis 2017 This work employs design as a critical medium, addressing and questioning totalitarian, authoritarian, and anti-democratic tendencies, specifically their contemporary propaganda communication. Words in this context serve both as the means and the goal. Through purposeful and straightforward visual manipulation, the objective is to strip them bare, eliminating superfluous visual elements and embellishment. In political propaganda, many words lack genuine meaning, idea, or value and often convey the opposite of what they purport. By employing various forms of critical design, the intention is to highlight the emptiness beneath the surface of these propagandistic expressions.