The problem I am working on in these projects is probably the oldest in the world: the problem of human identity and what this identity brings.
I use the symbol of the column—a plastic form well-known since the birth of art. The impression a column conveys is the closest to that of the human figure, while simultaneously serving as a symbol of stability and permanence.
I attempt to compress the form to its maximum, to strip it of every detail. The massive form resists the space, yet they remain in deep contact—the wind runs between the parts of the composition. The shape is eaten by space and time, leaving only the simple, nude construction: the column.
Sofia, 2004