A World Within a World

At the center of the space stands a tree assembled from pruned branches gathered across the city.

Branches from different trees are joined with plaster strips that leave their seams exposed — revealing, rather than concealing, the tension between fracture and repair, between the natural and the constructed.

The tree acts both as a sculptural object and as a conceptual structure, suggesting the possibility of forming a new whole from fragments.

Around it, body parts created in the studio — hands, feet, and heads — are reassembled into shifting configurations.

Figures appear to be caught mid-formation: a reclining body, an owl with open wings, two monk-like presences, and a female figure painted on the wall that moves between painting and sculpture.

A wall painting that served as the exhibition’s invitation combines two ceramic masks hanged on the wall connected by red ceramic line drawn between the artist hands.

The line resembles a thread the figure holds, on which the masks appear to hang — merging drawing and material gesture.

Another work features a figure lying on a sculptural shelf: its hand made of ceramic, facing a painting placed opposite.

The shelf becomes both a stage and a threshold, where the figure moves between surface and space.

Across the installation, the works hover between material and ritual action.

They explore creation as an act of assembly — where form, matter, and spirit are continuously rearranged.