When you first create an artwork as a 'thought through image' (i.e. first you make an image, and then you have many thoughts about it, as well as comments from others), you do not necessarily have a formed idea of where this thought will go and which final form will it become.

You ask yourself: why did I create this?

This is how an image begins the thought journey, as 'active imagination' process described by Jung.

Every geographic location that has experienced events with a high intensity of emotion carries a unique memory, which I refer to as the “emotional body” of that place. As humans, we also develop our own emotional body through the experiences in our lives, personal and ancestral traumas are influencing our choices, opinions, interactions, and routines, often without us realising it.

Why did I make the metal wire silhouettes in 2023, with images printed on a semi-transparent fabric hanging on them? The images were part of the 'Retracing Steps' project, all of them taken on expired film in one location: Berlin.

It was a Point in Time - a place with a very intense happening, the center-point of WWII, the city divided by the Wall into East and West, influenced by communism and capitalism. Relevant to the history of my family, with the memory of a similar nature to what was happening in current time in a place where I was born.

The 'image' has communicated what it had to, and the next step was to evolve it further. Tell me more? Okay, the frame is your 'Emotional Body' made out of 4 main parts, but it is not only ancestral body - not purely the past - it is also what you project into the future.

Does it have to involve the destruction of the past? To find this out, I contributed 2 of the sculptures to Conflict and Fragmentation collaboration 1 - an experimental project conducted with fellow residents at Emerge in Bath. The idea was to come together and offer a piece of your work to be manipulated or fragmented by the others, while you are busy smashing their vases or hanging cloth here and there. Deconstruct in order to reconstruct, which turned out to be harder then we expected. To me, it represented society motivated by the desire to create something new, and yet, torn by various conflicting ideas, each one penetrating the other and creating an organised chaos. There was no harmony achieved, and it felt like the process of creating a mosaic of pieces erases some vital 'holding principles' that each work has had before it was fragmented.

Something that happens when cultures are being erased by deliberate fragmentation, good(but not the only) example being USSR.

Finally, I was ready to hold the parts of my own Emotional Body with care, wrapping them in colourful silk sari ribbons and offcuts from some of the work I printed on canvas. The process was very therapeutic, something between applying a bandage on your emotional wounds and creating the healthy Emotional Body while projecting positive images in your mind:

Red - honouring Ancestral legacy, Blue - connecting with the Land, Yellow - Fellowship and Community, and Green was Evolution and Growth.

The process of building of this new Emotional Body was not as straightforward as I had hoped, however. 10 months later I realised, that the original Thought has now exhausted itself. The thin threads I weaved and the screens I put inside have created resonances which I could not possibly anticipate. The journey of learning from mistakes and detaching further and further from the original idea made me want to make a final act, the last word before the material dissolves and forces of nature are applied to purify the tangles and twists that have occurred, undoing the complexity of tripple-meanings and circular thought processes and settling the emotions with a simple blast of fire.

(it was a rainy day and a clear enough space to ensure safety)

And now it is done. Clarity and new visions will soon emerge.