The Home installation consists of four vases from the Garden of Eden series and seedlings. I start from the premise that the ideal home is a couple, (let's leave aside the various variants of loving coexistence) I mean the couple that naturally gives life, i.e. the union of the female and male principles, so that it creates the potential of a safe environment in which something can arise, grow, bear fruit. The vase here symbolizes the feminine element, the fertile climate in which the life-giving seed can germinate. It is an imaginary vagina in which seedlings are placed. Everything is connected by hair, which gives the installation a human element, while at the same time giving the robust vases a counterpoint of fragility and organicity. The furniture on which the vases stand belongs to the home, but it is burnt and charred, which evokes an unsettling feeling of fragility and vulnerability of the whole constellation of relationships, background, security. The vases are also placed on a tablecloth made of hair resembling roots, which freely flow down the furniture and connect the individual pairs, similar to the mycelium or trees in the soil that form a forest community. And just like people from their family cells intertwine with others.

The central theme of the installation is therefore subtle hidden eroticism, intimacy and fertility in a dialogue with finiteness. There is a clear contrast between the procreative beauty and the threat of extinction, whether on a symbolic level or as a result of a real natural disaster or a war conflict. Nevertheless, there is an optimistic hope that the life-giving will win and find its fruits even on the burnt site, which is, after all, a good fertilizer.