Exploring Coexistence Through Material, Process, and Perspective

Working across jewellery, objects, and material experimentation, the artist explores themes of coexistence, cultural transition, and the multiple realities that can exist within a shared experience. Drawing from personal journeys across different regions and environments, the work reflects an ongoing interest in the ways people, beliefs, technologies, and narratives intersect.

Through a practice shaped equally by concept and material, each piece becomes an investigation into contrast, connection, and perception. From the relationship between traditional craftsmanship and contemporary production methods to the overlapping realities of conflict and peace, the work invites viewers to consider how seemingly opposing worlds can exist side by side.

What are you most interested in exploring through your work at the moment?

The theme I am currently exploring is coexistence. Looking back at my previous series over a longer period of time, I realise that coexistence has always been a hidden subject in my practice, whether approached from a positive or a more critical perspective.

In earlier works, I explored the way modern society and traditional beliefs coexist in my hometown. I also examined how traditional craftsmanship and modern technology can support and complement one another in the development of craft. Other projects reflected on how people living in war zones and those in peaceful regions may receive very different information about the same event, creating overlapping and often conflicting realities.

As I continue developing my practice, I often revisit past works in search of the connections that link them together. I see this process as an important part of defining my creative direction and informing future research. At the moment, my focus has shifted toward a broader narrative. Rather than concentrating on one specific group or region, I am interested in discussing coexistence more directly, particularly the multiple perspectives that can exist within a shared medium.

How does a new piece usually begin in your practice?

New work often begins with my surroundings and the experience of moving between different places. Having spent a significant amount of time travelling and living across different regions, I have become highly attentive to the details of my environment. I think this sensitivity comes from a kind of nomadic experience.

Through these journeys, I constantly encounter new people, cultures, and situations. These experiences continue to shape who I am, while also influencing the direction of my work. I am interested in connecting new experiences and social environments with my own perspective in order to generate ideas that can support and expand my practice.

At the same time, I am always searching for new approaches. In some cases, I hope my work can move beyond personal narrative and address broader issues in a more direct and open way.

What role does material play in your creative process?

Materials play a central role in my work. They often influence the concept directly or become inseparable from it.

For example, in my S&A series, I explore the relationship between modern industrial processing and traditional craftsmanship. To support this idea, I selected materials that could clearly represent both sides of that dialogue.

In another piece, Melting Boundary, steel and silver are used to embody two distinct atmospheres. Steel suggests something cold, hard, and closely associated with conflict, while silver represents softness, calmness, and peace. The blurred boundary between the two materials reflects an overlapping and uncertain state between different environments.

Beyond their conceptual meaning, materials can also become the starting point of a project. Sometimes a work begins with a specific technique or process rather than an idea. In these cases, the material becomes the foundation of the practice itself. I spend time testing what can be achieved through it, exploring its possibilities, its limitations, and how far it can be pushed.

Was there a particular object, image, or experience that influenced this collection?

Yes. The Conflict series emerged from the difference between the information I received while living in a peaceful area and the information received by relatives who were living close to a war-affected region.

It was a very strange experience. War often feels distant from our daily lives. The images and stories we encounter are frequently edited, packaged, or presented in ways that make it difficult to grasp the reality of what is happening. We cannot truly understand its cruelty through media alone, yet the impact of war on people and the world is far greater than we often imagine.

When my relatives found themselves close to a conflict zone, I experienced that fear for the first time. It was a fear connected to hidden truths — something real but concealed beneath the surface. This feeling became the foundation of the work and inspired the strong contrast between its front and back sides.

This is your first time participating in AUTOR. How did you discover the platform and what made you apply?

I first discovered AUTOR through Instagram. I came across information about the platform, its community, and several open calls. It immediately caught my attention because it seemed like an inspiring place to present my work.

From previous editions, I could see the quality and creativity of the participating artists, which I deeply admired. At the time, however, I had just moved to London and did not feel I had the right opportunity to participate.

Later, I heard about AUTOR again through friends, some of whom had already taken part in the fair. They spoke very positively about the experience, describing it as both a valuable opportunity for visibility and a place to meet interesting people and creative practitioners.

I felt an immediate connection to that idea. Then, by chance, I saw AUTOR’s open call for Young Designers on Instagram and decided to apply. I was excited by the possibility of joining this larger creative community, and I am very grateful that AUTOR offered me this opportunity. It has already been a wonderful experience.

What are you most looking forward to about AUTOR 2026 and meeting the audience in Bucharest?

What I look forward to most is meeting people who connect with my work on a deeper level. I hope to have meaningful conversations about both the technical and conceptual aspects of my practice, and to share the ideas behind the pieces directly with the audience.

I am equally excited about meeting other artists and discovering new sources of inspiration. Every person observes the world differently, and I believe there is always something valuable to learn from another perspective.

I am coming to AUTOR with both a desire to communicate and a willingness to learn. For me, the fair is not only an opportunity to present my work, but also a chance to exchange ideas, build connections, and grow through dialogue.