My master thesis art project was titled Ženetine, consisting of three cycles of works, under the names: Objectification, Fragmentation and Consumption ⁄ Meat Curtains, Flesh For Fantasy, Meat Woman, where I code femininity with physicality and serve a deliberately wrong conceptual order. In this cycle, a parallel trajectory of the oppression of women and animals, that is, violence as a consequence of the patriarchal relationship over both, is evident.

Presenting women just like that, fleshy to the core, I rely on the opposition male-female or spirit-body, where the spirit is presented as equivalent to the male body, and the body as the equivalent of femininity, which is also the starting point in my theoretical and artistic research. In this series of works, I open up several art problems and give space to multiple interpretations of the works, playing with form and composition, putting them in inappropriate or unpleasant relationships and using satire and paradox.

In the series Fragmentation - Flesh For Fantasy, I flirt with kitsch aesthetics, placing fragments of the female body in golden frames, from which they very often stand out in real life. In this series, I use a reduced artistic language that creates a good balance with the gold that frames it.

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