Second, New skin – First body, 2022

Pencil, printmaking paper. Glaze, underglaze pencil, clay.

The drawings on clay and paper sheet are not meant to represent the skin, but are themselves like real embodied surfaces. The axis and basis of the art research are materials: paper and clay, which are similar to human body, skin, in my work becomes part of the body. Tactile and tactile connection also is very important in research. The skin – contact space that interacts with the world. From personal notes, a desire to touch: … When I draw on a clay biscuit, I feel its rough, indented surface. It gets into my fingertips, into all the wrinkles, the pores. The warmth of my hands warmed the cool and moist surface of the clay. … Drawings, clay tiles are like skin, which is “written down” and “rewritten”. These notes – cracks, glaze’s irregularities, pencil’s left marks – carries living, physical traces. … The hand gets closer to the sheet, the tile, a connection is established between the current moment of the work and the moment when I was drawing the first “pair”. They both merge, intertwine, change, exist together. … Drawings, clay tiles are like skin, which is “written down” and “rewritten”. These notes – cracks, glaze’s irregularities, pencil’s left marks – carries living, physical traces. … Every day, for I don’t know how long now, I touch, I draw on paper, I knead the clay, so that the materials seem to begin to breathe, to pulsate. … Watching the woman sculpting in the film, I felt a tangible sense of touching the clay myself. I seemed to feel physically what she felt. … Can I touch?