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Tenebrium is a sculptural relic shaped by the silent breath of the underground — a biomorphic vessel where darkness becomes form and void becomes presence.
Hand-formed from recycled paper clay and layered pigments, its surface echoes cavern walls and fossilized roots, as if carved by time rather than hands. The mineral patina — in charcoal brown, muted bronze, and ashen grey — evokes weathered stone and oxidized metal, holding light like memory… embedded in matter.
Its form twists and hollows, bulges and recedes — neither ornamental nor symmetrical — revealing a structure that feels both natural and sacred. Tenebrium does not speak loudly — it resonates. A contemplative object, it anchors space with tactile gravity and silence.
Part of the Terrac Spheria collection, Tenebrium reflects the philosophy of slowness, imperfection, and elemental presence — a fragment of earth’s subconscious, unearthed and 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.