Chain series
At the End of the Rainbow turns the myth of promised treasure inward. The word ALONE functions as a verbal relief — a linguistic form shaped by pressure, rhythm, and closure — becoming part of the object’s material syntax. The chain does not signify separation but internal cohesion: the necessity of being firmly connected to oneself before any outer connection can emerge. At the “end of the rainbow,” wealth is revealed not as illusion, but as integrity — material and psychological — held together in a single, self-anchored form.
2025, recycled banners, metal, 100 x 250 cm.
Precious Time what traditionally signals value, precision, and status is here translated into a dense, tactile mass — time not as smooth measurement, but as accumulated matter. The object oscillates between trophy and burden, asking what we truly consider precious: ownership, control, or the weight of lived experience.
2026, recycled banners, recycled textiles, metal, 400 x 80 x 20 cm.
Flaming Sword Of Power presents the burning blade as a concentrated form of will and transformation. The sword is not a weapon but an energetic structure — a carrier of inner force that divides in order to clarify. Fire does not destroy; it reveals. The work stands as a luminous incision through matter, embodying disciplined strength and self-anchored creation.
2025, PUR foam, 925 silver, copper, 40 x 20 x 200 cm.
Evrythn’ll b Alright 2mrrow - a female figure raises a flaming sword between two classical columns — one intact, the other collapsing — capturing a moment suspended between ruin and renewal. Grounded and deliberate, she embodies inner authority rather than spectacle. The promise of “tomorrow” is not naïve optimism, but a conscious act of will held steady within instability.
Red Velvet version: 2025, acrystal, velvet, metal, 150 x 7 x 80 cm.
Two columns version: 2023, acrystal, steel, fiberglass, 150 x 40 x 180 cm.
Blue — the most universally favored colour — becomes a carrier of connection, devotion, and quiet harmony. Rather than monumentalizing it, blue as an intimate field of relation, shaped as much by material precision as by lived experience, including the subtle presence of dog, Dusan. In contrast to Yves Klein’s pursuit of immaterial infinity, this blue is grounded, embodied, and relational. Developed through own method of achieving a saturated pigment in concrete, the colour gains both physical depth and symbolic charge.
2020, concrete (or velvet version), 45 x 100 x 55 cm.
Shi Shi dog - referencing traditional guardian figures, the work marks the origin of the Dog series. Grounded and compact, it holds a gesture of vigilance and continuity. The open mouth suggests a suspended sound — a threshold between past and present.
2019, concrete, 20 x 45 x 45 cm.
Like sea foam on the shore forming clusters that are changed after a while by another wave, the symbol of an animal born of foam is a visible sign of this fleeting reality. Spumam Animalis comes from the most extreme places of archetypal pre-images. Like the ephemerality of sea foam, The Spumam Animalis Series refers to the transient values of today. Through an innovative process, the work combines the original values contained in nature and subsistence, as well in science, progress and the present.
Spumam animalis is a collection standing on the border between art and design. These porcelain object are made using a technologically advanced method, which I deal with in my artistic- academic research. The shaky structure of the material does not let the eye rest and forces us to constantly look and rediscover new moments. As a sculptor, not only the inner concept is important to me, but also the material through which the work speaks to us.
Website Software