My work is characterised by reflections on the dichotomy of masculinity and femininity, chaos and order, the attempt of human dominance over nature and the possible existence of an invisible parallel world. 

Venus Maternity is part of a triptych, which developed from observing organic form and studying fertility cults and sacred objects.

Reflecting on Shakespeare's play A Midsummer Night's Dream,  I am creating a sculpture that incorporates its main themes and motifs. My work in general is characterised by reflections on the dichotomy of masculinity and femininity, chaos and order, the attempt of human dominance over nature and the possible existence of an invisible parallel world. 
The work Fortuna et Virtu is a structure in wrought iron, with deer antlers on one side and an amber-coloured glass sphere on the opposite side. Similar to the playground feature the ends can tip to one side or the other. The whole recalls a forest animal with blurry contours. It could be a four-legged mammal; it could be an insect. It could be a dreamlike appearance, gone in the next blink of the eye.

The majestic verticality of iCula ni bokola reminds us of the presence of man or a divinity, the four legs the existence of the animal reign. The sceptre and the presence of a cathedral vault below the figure conceptualise a theology of patriarchal domination over a feminized nature. The creative imagination is born of the unconscious, the magic and the mysterious.

Viewed from the front, Wandering stands erect, still and powerful, a totemic Guardian of its beautiful settings. Approached from the side, the female-like figure seems to move forward purposefully with a gliding elegance and grace which belies the humble origin of its form. 
The artist's inspiration come from natural material and discarded working tools, in which she finds dignity and anthropomorphic qualities. The thoughtfully and beautifully designed original object which inspired the 2,50 m high sculpture is an old metal saw set tool, used to tune and sharpen saw blades.

In Northern European Folklore animals are believed to be endowed with supernatural powers and the deer - stag or hind - was considered to be a mystical guardian of the forest. According to Celtic myth, Otherworld deities sent a white hind or stag to guide chosen humans into their realm. They were believed to appear to humans at the beginning of a change or a journey...

The sculpture Lajja Gauri is an amber-coloured glass cast. It was initially conceived as a part of “The Stag” sculpture, an assemblage of metal structure, deer antlers, a crystal glass element and plaster abdomen. While the antlers represent fertility and rebirth for the male part of the “Stag” sculpture (the metal frame plus deer antlers) the artist introduced an imagery associated with abundance and fertility in the female parts that were to slot onto the male frame. The lower abdomen contains the reproductive parts of the species, with a protective amour on one side and the representation of the deity on the other. 

‘One and Three’ consists of a series of metal sculptures, carefully constructed from a number of identical shapes which are originally based on the human body. The whole, however calls to mind a very different image: a flower, a flame, a symbol, a rhythm. One thing can be three. Three things can be one. Nothing is definite. 

A metamorphic process which brings forward  figures related to the symbolism of Norse Mythology.

The series of wire sculptures representing the dog developed from experimentation to simplify the artist’s intervention. These three dimensional drawings in space are the result of intensive observation in order to render the complexity and vivacity of the animal by the simplest means.