My master thesis art project was titled Ženetine, consisting of three cycles of works, under the names: Objectification, Fragmentation and Consumption ⁄ Meat Curtains, Flesh For Fantasy, Meat Woman, where I code femininity with physicality and serve a deliberately wrong conceptual order. In this cycle, a parallel trajectory of the oppression of women and animals, that is, violence as a consequence of the patriarchal relationship over both, is evident.

I criticize and ironically question misogynistic attitudes in society.

Erotica is not pornography, and women are not meat, it is a slogan that can give insight into the topic I am problematizing and the message I am sending.

Popular culture offers a series of contents that emphasize the perception of women as consumable goods - meat. Meat, in a context where it becomes a means by which men express their natural control over women, as well as over animals. Women are called meat as if they were destined for man's consumption. Just as meat is the sign of male control over the natural world par excellence, so women as meat represent a particularly powerful statement of her supposedly more unrestrained social role and availability as a natural resource for men.

In the compositions made of several figures, in the series Objectification - Meat Curtains, I move between figurative and abstract approaches, transfiguring pieces of meat into symbols of women and femininity, which is the central visual problem in this work.