Art is the process that begins with an idea, continues through drawing, printmaking or sewing to end on the paper, fiber or clay. From the sketch as a starting point it goes through changes and processes that can be repeated over and over again. Symbolically it can be viewed as a metaphor of time.
Patterns
Patterns became particularly relevant to my work when I began working with pottery and turned my interests in that direction. This shift originated in my engagement with the medium itself and the need to fill and articulate space. The rough surface of the paper pulp required polishing and visual filling through imagery.
The starting point was found in simplified prehistoric patterns based on a monochromatic scale, lines, outlined shapes, and symmetry. The introduction of additional colors—specifically English red and black—led to the development of new patterns grounded in line, horror vacui, and symmetry. The contrast between the almost white background and the red and black lines encouraged the use of zigzag and wave motifs, dots, and both geometric and organic shapes. Regularity achieved through symmetry was adopted as a primary organizing principle. In a few cases, however, structured patterning was replaced by a more chaotic arrangement.
The investigation of patterns continued in Illustrator and vector drawing. The use of symmetry and repetitition introduced changes to existing patterns. Lines were refined, and geometry became more relevant in the design of the patterns. Through the use of options such as Blend, Repeat, or Distort, new textures were formed. Combining Photoshop and Illustrator made the sketches more realistic, resembling mock-ups.
These new opportunities may influence both the process and the conceptual approach. Patterns may undergo geometric transformations to reach either irregularity through regularity or endless symmetries, such as moiré patterns—a never-ending story.
When a Never-Meant-to-Be Archaeologist has a Dream
A long time ago, I used to dream about becoming an archaeologist. That dream has been replaced by another one that became my reality. But my fascination with archaeology never truly disappeared. It still exists during museum visits, sometimes hidden within my drawings.
Recently, I began working with paper clay to create three-dimensional objects. I decided to call these creations Time Catchers because they seem to hold time within them — through their process, their prehistoric references, and their presentation, which evokes the feeling of standing at an archaeological site.
Experimenting with paper clay has led me to create containers that echo prehistoric artifacts, both in their form and in their decorative patterns. As I work, I find myself thinking about the rituals and habits of everyday life thousands of years ago — the role such objects might have played in daily routines, and how they might have shaped social interactions.
Each piece I make carries its own history — a process divided into stages: drying, polishing, coloring, painting, and polishing again. The time spent on each stage feels significant, almost ceremonial, reminding me of how time itself is woven into every artifact we discover from the past.
One recurring theme in my work is an obsession with three-legged forms. This curiosity has pushed me to experiment across different media and techniques — drawing, ceramics, and now paper clay — each adding new layers of meaning to my exploration.
In the end, these objects are more than just artworks. They are echoes of a forgotten dream — my dream of archaeology — transformed into something new. They live on the border between art and archaeology, bridging the past and the present, memory and imagination.
Oncyber
Exploring Oncyber as a Virtual Studio
Oncyber is more than just a platform to showcase finished work—it's a space where the creative process itself can unfold. When used as a studio, it captures your workflow and offers the chance to exhibit unfinished pieces, sketches, and experiments created in various apps.
One of Oncyber’s key strengths is its flexibility. You can play with scale, compare works side by side, and use it as an experimental ground for evolving ideas. Sketches made in different programs can take on new dimensions, potentially growing into entirely new media or concepts.
My own shift from 2D to 3D began a few years ago through fiber art. It allowed my flat works—drawings, graphics, and paintings—to break into the third dimension using relief and sculptural forms. Now, with tools like Nomad and Blender, similar transitions are possible in digital 3D environments. Designing in 3D brings fresh challenges, often pushing ideas toward sculpture or animation. These creative tensions between 2D and 3D lead to unexpected outcomes and open up exciting possibilities. Oncyber supports this continuity, making space for evolving ideas and new conceptual breakthroughs.
