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Arenisca is my sculptural meditation on erosion — a quiet homage to sandstone cliffs, shaped not by hands but by time, breath, and silence.
Formed by hand from recycled paper clay and natural pigments, its surface recalls the mineral poetry of sedimentary layers — ridged, uneven, and touched by invisible winds. Shadows move across it like memory, revealing presence rather than pattern.
Part of my Mur Vitae series, Arenisca belongs to a language… of stillness — where simplicity holds depth, and organic irregularity becomes the heart of form.
This wall-born sculpture is more than material: it is the slow imprint of earth, a quiet anchor for spaces that honor touch, tactility, and soul.
Arenisca is a sandstone fragment reimagined. A silent record of erosion, held in form.
I was born in a city that no longer exists as it was. Mariupol — once sea and sand, now ash and absence. Yet even what disappears leaves its trace. That trace is what I follow. I live now in Zurich, but my hands still carry the earth of elsewhere. I grind straw, soil, bark, ash into matter that resists beauty. These are not materials chosen—they are what remains. I am close to Arte Povera, because in the poverty of matter lies genius: the truth that nothing is too small to hold memory. I am close to wabi-sabi, because time itself writes through imperfection, through cracks, through silence. My vessels and wall pieces are not objects. They are witnesses. Companions of dust and silence. Fragile, yet enduring. They stay when all else is gone.