Between Worlds

Between Worlds emerged following the theft of fifteen ceramic bricks during one of the exhibitions (On the Edge) in 2026. Reconstructed in translucent resin and arranged in their original vertical formation, the illuminated forms resemble suspended presences existing between disappearance and return. The work gradually developed into a reflection on absence not as emptiness, but as a condition shaped by uncertainty, memory, and unresolved waiting.

The sculpture continues the artist's long-term engagement with war, displacement, loss, and the psychological condition of living between rupture and continuity. The work became increasingly connected to the forced deportation and disappearance of Ukrainian civilians and children from occupied territories during Russia's full-scale invasion of Ukraine. According to the European Commission, nearly 20,000 Ukrainian children have been unlawfully deported since 2022 (European Commission, 2026). Rather than directly illustrating violence, the work approaches disappearance through fragile material presence and spatial tension.

The translucent resin shifts the original ceramic language of weight and fracture into something more unstable and immaterial. Internal string lights transform the structure into a narrow vertical glow resembling a distant signal, memorial candle, or fragile architectural trace. Light functions simultaneously as evidence of life, absence, continuity, and hope while remaining physically vulnerable and temporary.

Through repetition, illumination, and suspended material presence, Between Worlds reflects on displacement, memory, and the emotional condition of existing between worlds – between home and exile, presence and disappearance, survival and uncertainty.