SLO

       Po končanem študiju kiparstva, je v mojih delih vidno zanimanje za konstruiranje prostora in odziv telesa v njem. Zanima me kako v prostor postaviti dela, ki gledalca povlečejo bližje, hkrati pa ga soočitjo s surovostjo stvarnega. Želim si, da gledalec telesno doživlja prostor, da se čutno odzove in da zaznave suptilneje bere preko lastne izkušnje.

Privlači me skrivnost in tišina, kar velikokrat vzamem kot orodje, da preverim kako materialnost sama zmore prenesti jasno vsebino. Ustvarjanje ambivalentnosti občutkov me vodi tudi pri izbiri materialov. Iščem taktilnost površine, ki lahko pričata o mehkobi kože, gladkosti kosti in prosojnosti, kot vodi, ki obdaja telo. Eno delo je največkrat sestavljeno iz večih kosov, ki med seboj ustvarjajo poglavja za branje celotne zgodbe.
       Vsebinsko so me najprej vodila vprašanja vezana na pojem identitete. Zanimala me je identiteta posameznika skozi pojem odsotnosti. Ta je direktno vezana na najdene dokumente in zgodbe določenih oseb, iz katerih usod izhajam. V procesu preučevanja sem zapisovala lasten odnos do najdenega, kar me je nagovorilo k bolj performativni praksi. To je vidno v kosih, ki jih oblečem ali so zmodelirana neposredno na telesu. Pri slednjem mi fotografija služi kot zapis performativnega in jo na razstavi uporabim, kot del podteksta pri jasnejšem branju vsebine.
       Trenutno veliko bolj izhajam iz identitete samega materiala. Poslednično zavestno spremenim prostop obdelave materiala. Veliko več pozornosti posvečam kvaliteti in živosti materiala.

       Poleg ateljejske prakse se že vrsto let ukvarjam s klesanjem nagrobnih napisov, kar vidno vpliva na moj proces dela. Za nove fragmente velikokrat uporabim odslužen marmor iz nagrobnikov. Kamen fino obdelam, ga potem ponovno uničujem, zlatim praske in ponovno poliram. Postopki dela so veliko bolj preplasteni, kar mi daje svojevrsten odmik in nenavezanost na življene ustvarjenega dela. Tako delo lahko ponovno vidim, zagledam in se odzovem z novimi posegi. Tekom umetniške prakse postopke dokumetniram, zapisujem, skiciram in kasneje morebiti fragmetne procesa uporabim v končni postavitvi.

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ENG

       After completing my studies in sculpture, my work reflects an interest in constructing space and the body's response within it. I am curious about how to place works in a space that draw the viewer closer while confronting them with the rawness of reality. I want the viewer to physically experience the space, to respond sensually, and to perceive subtleties through their own experience. I am attracted to mystery and silence, which I often use as tools to test how materiality itself can convey clear content. The creation of ambivalence in feelings also guides my choice of materials. I seek the tactile quality of surfaces that can speak to the softness of skin, the smoothness of bones, and transparency, like water surrounding the body. One work is often composed of multiple pieces that create chapters for reading the entire story.

       Initially, my work was guided by questions related to the concept of identity. I was interested in the identity of an individual through the notion of absence. This is directly connected to found documents and stories of specific people whose fates I draw upon. In the process of studying, I recorded my own relationship to the findings, which led me to a more performative practice. This is evident in pieces that I wear or that are modeled directly on the body. In the latter, photography serves as a record of the performative and is used in exhibitions as part of the subtext for a clearer reading of the content.

       Currently, I derive much more from the identity of the material itself. Consequently, I consciously change the approach to processing the material. I pay much more attention to the quality and liveliness of the material.

       In addition to my studio practice, I have been engaged in carving tombstone inscriptions for many years, which visibly influences my work process. For new fragments, I often use discarded marble from tombstones. I finely process the stone, then destroy it again, gild the scratches, and polish it once more. The work processes are much more layered, giving me a unique detachment and lack of attachment to the life of the created work. This way, I can see the work again, view it, and respond with new interventions.

       Throughout my artistic practice, I document, write down, sketch, and later possibly use fragments of the process in the final presentation.