Artwork description: This work is primarily an illustration of the process itself, with all its mistakes, imperfections, questions, doubts, and searching. Working with the material becomes a reflection of life as it truly unfolds: unstable, uncertain and constantly striving toward an ideal.
For me, it is important to preserve not only the result, but also the traces of movement: moments of fragility, tension, change, and chance. It is within these imperfections that the authenticity of the material, the experience of interacting with it, and the reality of living begin to reveal themselves.
Through the exploration of bottle glass, I turn toward the idea of “inner archaeology.” Just as archaeology studies the layers of the earth where traces of time, destruction, accumulation, and disappearance, I explore inner layers: memory, experience, and the perception of the self.
Identity. Mindset. Direction in life.
Are these things chosen, or are they shaped by external events?
Artwork description long: My objects—“amphoras” (vessels)—are fragments of an inner excavation. They are not finished forms but states of becoming: broken connections, memories, habits, and meanings. They are my possibility for a new beginning. My artistic practice is a material-based investigation focused on the reuse of bottle glass. I break in order to create something new. The process has become a way of telling my story and making sense of personal experience. I create space for something new by building upon what remains of the old—what has passed and what belongs to the past. For me, reuse is not only an aesthetic or ethical choice but also a conceptual one. I work primarily with found and previously used bottle glass that carries traces of its former function. I am interested in how an everyday object transforms into an autonomous artistic form. From 8,549 g of tonic bottles, I obtained 8,256 g of glass powder and 1,009.5 g of waste material. Producing a single “amphora” requires approximately 1–2.5 kg of glass powder, depending on the technique used. Experimentation is central to my practice. The physical properties of bottle glass shape both my methods and my tools, requiring constant adaptation. Glass is fragile and demands precision, yet chance always remains an integral part of the process. Control and unpredictability exist in a continuous dialogue. The beginning of the process is a territory of complete uncertainty and lack of control. There are no established rules—and, more importantly, my own rules do not yet exist. It is the point where simply making something ends and something else begins. Not the absence of control, but its transformation.
Artwork description long: My objects—“amphoras” (vessels)—are fragments of an inner excavation. They are not finished forms but states of becoming: broken connections, memories, habits, and meanings. They are my possibility for a new beginning. My artistic practice is a material-based investigation focused on the reuse of bottle glass. I break in order to create something new. The process has become a way of telling my story and making sense of personal experience. I create space for something new by building upon what remains of the old—what has passed and what belongs to the past. For me, reuse is not only an aesthetic or ethical choice but also a conceptual one. I work primarily with found and previously used bottle glass that carries traces of its former function. I am interested in how an everyday object transforms into an autonomous artistic form. From 8,549 g of tonic bottles, I obtained 8,256 g of glass powder and 1,009.5 g of waste material. Producing a single “amphora” requires approximately 1–2.5 kg of glass powder, depending on the technique used. Experimentation is central to my practice. The physical properties of bottle glass shape both my methods and my tools, requiring constant adaptation. Glass is fragile and demands precision, yet chance always remains an integral part of the process. Control and unpredictability exist in a continuous dialogue. The beginning of the process is a territory of complete uncertainty and lack of control. There are no established rules—and, more importantly, my own rules do not yet exist. It is the point where simply making something ends and something else begins. Not the absence of control, but its transformation.