I cannot prove that my conception is correct, but it is my religion

My project originates from the concept of non-linearity of time and the question “is timelessness the absence of time or the coexistence of time?” The aim is to encourage the viewer to think about how the past, present and future cyclically intertwine and coexist in one field of our perception. To achieve this, I create an installation that allows  to see time through the prism of my family history and my consciousness. I use my son’s sculptures as well as archival slides of my family members. The associativity of temporary connections is essential in the project. the coexistence of different segments of time is important. 

It inspires me how memories of school and history lessons resurface in my current life. The everyday positions, in which the bodies of the Pompeians froze at the moment of tragedy, bizarrely echoed the extremely ordinary and definitely real poses my son takes when playing games on his smartphone.

This is an ongoing project and during my long-term stay in Serbia, I’m working on the creation of temporary statues in various places throughout Serbia, forming a visual language through a shared and relevant experience of post memory. In sculpting, I resort to modern techniques, using only natural, unbaked and unrefined clay. The reason for this is simple: I reuse the same clay many times, but I add a bit of local clay to each new statue, thereby physically embedding memories, experience and history into the statues I create in the selected locations. I see great value in the fact that the sculptures are short-lived, and the gradual destruction, inevitable in the absence of fixing the results, show how the present becomes the past. 

Memory becomes the place where timelines meet in one moment. It goes with the memory of the person, the memory of the body, the memory of the land. The natural trail presents it not only in the present, but also as a moment as important as a blink of an eye in historical perspective. 1000 years this clay has seen, now it will form, then degrade, and still it will remain the same clay.

I leave the finished sculptures in the locations where I create them, in the open, unguarded and unprotected. Each artwork is remaining there for 2 to 3 weeks, slowly disintegrating, under the influence of the forces of nature. Viewers also have the opportunity to interact with the sculptures. By choosing locations that are far from the white cube galleries, I intend to enrich the viewers’ visual experience and expand their cultural horizons.