Paper works

Corpora Liminalia presents a collection of delicate embroidered silhouettes — bodies emptied of their former identities, translucent skins left behind after acts of inner transformation. These figures do not depict the body as it is, but rather the body as it is imagined — constantly moving, abandoning, recreating itself.

In moments of transition, when the known self no longer fits the world it inhabits, imagination becomes an act of survival. It is through imagining new forms of being that one can leave behind obsolete structures and step into futures not yet defined. Here, the act of shedding is not an ending, but a generative gesture: a practice of freedom. Each figure marks the moment when inner necessity demanded the invention of a new mode of existence — a new relationship with oneself, others, and the world. The artist collects these shed skins like relics of personal revolutions — silent witnesses to the infinite capacity for becoming otherwise.

In dialogue with philosophical ideas from Jacques Lacan, Julia Kristeva, and Michel Foucault, Corpora Liminalia suggests that identity is not a fixed state, but a continuous negotiation of absences, ruptures, and emergences. It is an imaginative exercise carried out in the intimate territory of the self. The embroidered silhouettes, classified in a fictional taxonomy, propose an archive of transformation: a visual mythology of metamorphosis beyond constraint, beyond expectation. They remind us that imagination is not mere fantasy, but an essential political and existential act — a reclaiming of the right to dream ourselves anew.

IMS. PFM. TY. ILY — the series of collages and the installation, showing the harmful effects of human activity: garbage, exhaust fumes, and landfills.

Around the edges, a Hawaiian prayer is embroidered, saying: “I’m sorry, please forgive me, thank you, I love you.” This prayer, rooted in the Ho’oponopono tradition, highlights the tension between human destructiveness and the potential for repentance and renewal, and embodies a spiritual cleansing and reconciliation process.

Embroidery, as a traditional form of women’s craft, symbolizes the nurturing and caretaking roles women often embrace in society. This art form, characterized by patience and attention to detail, mirrors the persistent and compassionate efforts women contribute to environmental advocacy and leadership. In doing so, I emphasize how women play a crucial role in healing and restoring the environment, using their voices and actions to promote sustainable practices and inspire change within their communities and beyond. I honor the unique contributions of women in the ongoing fight for a healthier planet.

The flowers that crown the installation symbolize hope and rebirth, suggesting that through sincere effort and a genuine change in consciousness, humanity can foster a symbiotic relationship with nature once more.

I see the work as a meditation on the interconnectedness of all life and the moral imperative to act as stewards of the environment. It echoes themes of existential responsibility and the possibility of redemption, suggesting that despite the damage inflicted, there remains an enduring hope that humanity can mend its ways and the earth, in turn, can heal and forgive. This installation serves as both a solemn reflection on our current plight and an inspiring call to action, encouraging a shift from a path of destruction to one of harmony and reverence for the natural world.

Every woman’s soul is covered with scars — scars of burning grief, of bitter sadness, of a heart burned to ashes. A scar means that the pain is gone and the wounds have healed. It means we have conquered the pain, learned our lesson, and the scar is a tattoo of triumph. And it is time to leave behind the weakness and the expectation of praise, the cruelty to ourselves and the rigour of unloving, the desperate longing and the regrets of unfulfilled dreams. It is time to claim the right to the healing fire of anger, the light of our depth and the tenderness of our vulnerability.

In the artwork “Threads of Connection” I reflect upon our role as stewards of the Earth and recognize the profound impact of our choices on the environment. I invite contemplation on the interconnectedness of all living beings and the significance of fostering a harmonious relationship with the Earth.

Embedded within the collages are visual representations of human figures, symbolizing our presence and impact on the Earth. The figures of nature and human faces are interconnected by the threads, symbolizing the intricate web of relationships between humankind and the environment, reflecting the delicate equilibrium necessary for a sustainable coexistence between humanity and the natural world. This imagery serves as a reminder of our responsibility to protect and nurture the Earth, emphasizing the interconnectedness of all living beings.

Whispers of Unity invites contemplation — a reflection on the dance of opposing forces in our lives, on our individual and collective journey in a world of contrasts. Through the fusion of materials, this series testifies to the human spirit’s relentless quest to harmonize opposing forces, to become stronger, more united and in touch with the limitless reservoirs of our depth that are within and around us.

The captivating mysticism of Wiccan incantations is at the heart of this collection and flows through the compositions, guiding the incantations embedded within. Each phrase carries an intention, a prayer request to the universe for support and creative inspiration, forming a tapestry of interconnectedness.

The act of asking for help from the universe, in parallel with the creation of spells, becomes a visual metaphor for our constant quest for wholeness and unity.