Statement

My artistic practice extends from personal experience, unfolding at the intersections of memory, gender, ecology, and the body. For me, each work develops as part of a continuum, existing in a state of becoming. This sense of temporality is central to my practice, and I am drawn to processes that allow works to shift, blur, and remain open — mirroring the instability of memory, the body, and the environments we inhabit.

Much of my practice is shaped by childhood memories, which I reimagine through a contemporary lens. Raised in Kosova, where the traces of war and years of isolation shaped daily life, I learned to recognize absence, waiting, and uncertainty as formative conditions. These experiences often return in my work as personal archives — fragments of personal or family history, everyday objects, or gestures — that I rework and layer into new visual and spatial narratives. Personal memory becomes a threshold into broader questions of collective history, identity, and ecological entanglement. Gender is an element that emerges organically in my practice, as an embodied perspective that shapes the way I engage with art, archives, bodies, and spaces. As a woman artist in Kosova, I am conscious of how histories and everyday negotiations of visibility and belonging mark the body. 

This fluid, non-linear approach extends across media: painting, drawing, photography, installation, video, and sound. I often upcycle materials, work with personal archives, or digital glitches, allowing them to reappear in altered forms, between intimacy and collective narratives. By doing so, I emphasize continuity, vulnerability and connection. The body, for me, is not a fixed form but a site of transformation —  that carries memory and speculative futures. 

This sensibility continues to inform my work: in projects such as “Mothers of War” (2023), I explored women’s experiences of pregnancy, birth and motherhood during the Kosova war, with oral history recordings, video, and installation to preserve voices otherwise left on the margins. In “All this time, becoming” (2025), I turned toward eco-feminist thought, layering personal memory with upcycled materials and digital mediation to reflect on engagements between human and more-than-human worlds.

Across these projects, my work has been shaped by conditions of instability and movement: counter archives, the precarity of ecosystems, and the experience of waiting, displacement, and belonging. My interest lies in exploring how bodies, landscapes, and technologies can be re-imagined through artistic processes that embrace rupture, absence, and fluidity as generative spaces.