make it nice, 2025

Mixed media installation, variable dimensions (Embroidery on acrylic glass. Acrylic glass, mouliné thread. 15x65x8 cm; Sewn objects. 3D printing, fabric, acrylic glass. 15x65x10 cm, 58 pieces; Object. Fabric, 3D printing, interactive video. 40x40x15 cm)

When an individual tries to observe themselves objectively, they ultimately see only what emerges from the continuous interaction of subjectivity with others. I am the one who planted the flowers last autumn. Each flower has its own meaning, and together they exist under the imprint of controlled randomness. There are various events and reflections, including a lady who wanted flowers for herself, who does not even know that she played a significant role in the development of the installation, and the viewer, who will have the opportunity to form their own view of “make it nice”. These are mutual relationship patterns that interact depending on the specific situation. I am fascinated by this play. I use the motif of flowers to create a sense of naivety that may seem self-contained. 

Since the work received its title, I have noticed how often people around me use the phrase make it nice in different contexts. Mostly, it relates to moments when the only function of an object or situation is to be aesthetically pleasing, while deeper meaning is set aside. “make it nice” is both irony and a question. Is it enough for something to simply be beautiful, or is there a need for engagement and the ability to perceive the world in a nuanced way to find meaning? The answer must be sought individually. 

In the practical development of the work, I initially worked intuitively, while trying to see the interconnections of actions. I focused on details, which slowly took shape into a whole. Four objects each have their own meaning, yet together they form a coherent unit. Parts of the installation act like frames, representing fragments of the overall composition. In a sense, they can exist individually, but in this context their meaning changes or disappears entirely. For me, this is a way to speak through flowers, to approach and explore details, or to step back and see the general view. And, of course, there remains what we do not see, do not know, and do not notice. The unified motif of the work is flowers, a decorative and fragile symbol representing life, waiting, and illusory beauty. It is a simple and natural form whose meaning changes depending on the materials used and the perspective of the viewer. The installation incorporates natural flowers, textile objects, digital flower animation, embroidery on acrylic glass, and a large camouflage flower with an interactive video. Up close, one can see only the flower’s loading sign, but stepping back allows the viewer to perceive the big picture: a woman stealing flowers planted in autumn and blooming in spring. This element emphasizes the interplay between observation, distance, and the emergence of meaning, reinforcing the installation’s exploration of perception and controlled randomness. Additionally, the book Whatever Works features abstract drawings on each page that are transferred onto acrylic glass and serve as a research tool for the work. Flowers are used as a metaphor for the complexity of individual perception. 

The ability to perceive them in such varied objects may seem irritating or self-contained. What matters is not only how we see, but how we understand what we see. A meaningful view of the world is constructed using what we already know or believe we know.