DEMISEXUAL (NON)RELATIONSHIPS

This installation brings together a series of works that explore the impact of social pressure, intimacy, and self-perception in contemporary relationships. Through video performance, printmaking, drawing, and digital media, it examines how external voices, expectations, and systems of selection gradually shape personal identity and emotional experience.

The works reflect moments of tension between control and vulnerability, individuality and conformity, connection and isolation. Rather than offering fixed conclusions, the installation creates a space where these contradictions can coexist and be critically reflected.

PAPER DISSONANCE (video performance)

The sound track was created from voice messages containing unsolicited advice and inappropriate comments from the surrounding environment. The recordings were digitally distorted and processed using AI, resulting in a cacophony that represents societal intrusion into the personal and intimate sphere of the individual. The sound is intentionally disruptive and complements the concept of the artwork by conveying a sense of frustration and pressure. The spine functions as a mirror of human words. The tearing of the paper barrier represents a physical act of resistance against conformity. An anxious state emerges, followed by a moment of rational awareness. The final moment expresses a transformation in which the subject preserves their own values and convictions.The work highlights how external judgments and social expectations gradually shape an individual’s self-image, giving rise to cognitive dissonance. Societal pressure leads to internal withdrawal and the internalization of shame—not as a result of the subject’s own actions, but as a consequence of toxic judgments imposed by others. The artwork is grounded in the belief that integrity means consciously remaining faithful to one’s own values even within an environment of intense social pressure. The performance reflects the need to preserve an authentic identity within the sphere of intimacy and relationships, where personal decisions are frequently subjected to normative judgment.

DIRTY NOTE (linocut)
The body in the work functions as a site for recording social experiences. Marks, the spine, and interventions do not represent guilt, but rather the layering of external influences that inscribe themselves onto the body over time. The series of linocuts is derived from abstract fragments captured from video. Screenshotted moments depict the application of color and the creation of layers. Working with multiple matrices allows for variability and repetition of motifs in different configurations. This principle emphasizes the processual and cyclical nature of the visual language while preserving traces that recall what has been presented to us as “right” and what we learn from.The abstract compositions explore the tension between chance and control. The captured fragments reduce a specific situation to form, rhythm, and contrast.

BED JUST FOR ONE (drawing&object)

The mattress represents a personal space claimed by the individual, where the relationship to one’s own body and sexuality is revealed. The outline of the body and pen markings serve as a visual sign of an internal dialogue, expressing desire, self-confidence, and the boundaries of personal intimacy. At the center is the mattress, evoking comfort and spatial privacy. It also symbolizes an object that can connect two people, capturing moments of intimacy, closeness, and trust, but also of loneliness and fear. It references the ordinary bed, a daily object over which it is up to the individual with whom they choose to share sleep and closeness. The tracing of the body onto the object creates a space for introspective experience, where one encounters oneself and one’s own boundaries. The line, which has no clear end, refers to the impermanence of barriers and the need for inner understanding before opening oneself to the outside world. The work examines the contemporary superficial reality of intimate relationships, where connection is often reduced to immediate gratification. On the mattress, the pen marks symbolize the slow fading of convictions and the loss of control over oneself. The work captures the inner conflict between the desire for closeness and the fear of comparison or betrayal.

SWIPE LEF OR RIGHT? (ready-made digital design)

Relationships today move between generational shifts and the pressures of modernization. The graphic work reflects a position between generations, where it is unclear whether to align with the short-term and superficial bonds of younger people or the more fragile and fleeting connections of the older generation. Graphic annotations engage the visual language of dating apps as a ready-made system of partner selection. Profiles function as simplified representations of identity, stripped of context, bodily presence, and natural communication. The installation reflects the frustration of searching for a partner in an environment where relationships are formed under the pressure of constant availability and seemingly endless options. It raises the question of whether love is possible within the current model of dating, or if choice replaces genuine experience. The work addresses societal norms of intimacy, the pressure for experience, and the normalization of short-term relationships. It does not offer answers but creates a space for individual reflection on time, closeness, and personal boundaries