My practice is grounded in contemporary porcelain sculpture and installation, where I use porcelain as a material of tension—simultaneously fragile and resilient, intimate and institutional. Through feminist and socio-critical perspectives, I examine systems of care, domestic labor, gendered roles, and the social constructs embedded in everyday objects and rituals.
Much of my work focuses on the domestic sphere as a political and cultural site. Beds, tables, vessels, and architectural fragments recur as carriers of memory, control, vulnerability, and resistance. Installations such as Beware of the Bed, Nuwa, and Table of Immortality address femininity not as identity alone, but as a field shaped by labor, expectation, silence, and endurance. These works draw attention to how bodies—particularly female bodies—are regulated, preserved, or erased within social and institutional frameworks.
Porcelain functions in my practice as both archive and structure. Its historical associations with purity, decoration, and value contrast with its capacity to fracture, accumulate, and bear weight. I often work with repetition, scale, and serial forms, creating environments that oscillate between intimacy and discomfort. Recent projects, including Home Economics Class: I’ll Show You Mine If You Show Me Yours (Museum of Applied Art, Belgrade), explored the notion of “female handwriting” in ceramics, questioning canonical hierarchies and the marginalization of care-based practices.
My upcoming work continues this trajectory through projects such as She Said What She Said and Sacred Games, expanding my inquiry into language, ritual, sacrifice, and inherited narratives. Across all works, I approach porcelain as a critical tool—capable of holding contradiction, vulnerability, and quiet resistance.