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Limora Terra is my sculptural meditation on movement held within stillness — a vessel shaped by hand, where biomorphic tension meets geological calm.
Formed from paper clay with layered textures and spherical reliefs, this sculptural pedestal for light rises like a relic unearthed — alive with curves, erosion, and clustered organic rhythm. Its surface suggests earthen strata, lava flows, and sedimented memory, sealed in a matte palette of deep browns,… blacks, and mineral ochres.
Subtle in function, Limora Terra includes a removable glass dome resting atop its sculpted crown — offering light without interrupting presence. The piece balances weight and openness, becoming both altar and object, architecture and offering.
Part of the Terrac Spheria collection, this piece is not defined by utility, but by presence — an elemental form shaped to hold stillness, light, and time.
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.