The focus on the body has never been greater, and values ​​have never been less.

Through the transformation of discarded objects of consumer culture, I try to point out the hyperconsumption, malleability, instability of the body and perceptions of discarded objects. Sculptures created by sewing and joining used industrial materials are fragile creations with a short shelf life. In order to more strongly indicate the relationship between the transitory and the eternal in contrast to clothing installations, made and sewn from prints of my skin and industrial beauty products, I set up a ready-made installation consisting of my nana's (grandmother's) clothes. Clothing installations, in the form of dresses, placed in such a way that their fragile bodies hang in space, like the shell of a second skin, evoke the memory of the body. In contrast, the garment is in its compact, solid state, carefully ironed and neatly folded, wisely awaiting the next generation.

The seductiveness of clothing, packaging and content is short-lived, inauthentic and superficial. The body, for the sake of ideals, eternal youth and beauty, becomes the biggest garbage producer on the planet.

Ruho represents clothes, handicrafts, crocheting and weaving that my grandmother, as a girl about 70 years ago, created and brought to the groom's house. Ruho in that case, as a cotton fabric, with lovingly woven patterns and tight seams, represents a value that is permanent, passed down from generation to generation. Clothing installations, in the form of dresses, placed in such a way that their fragile bodies hang in space, like the shell of a second skin, evoke the memory of the body. In contrast, the garment is in its compact, solid state, carefully ironed and neatly folded, wisely awaiting the next generation.