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.

I criticize and ironically question misogynistic attitudes in society.

Erotica is not pornography, and women are not meat, it is a slogan that can give insight into the topic I am problematizing and the message I am sending.

Popular culture offers a series of contents that emphasize the perception of women as consumable goods - meat. Meat, in a context where it becomes a means by which men express their natural control over women, as well as over animals. Women are called meat as if they were destined for man's consumption. Just as meat is the sign of male control over the natural world par excellence, so women as meat represent a particularly powerful statement of her supposedly more unrestrained social role and availability as a natural resource for men.

In the series Consumption - Meat Woman, I discreetly use the form of a flower in the representation of the female sexual organ, again using symbolism and pointing to the past time of a different treatment and view of a woman and her flower.

Shades of pink and red, as gentle⁄feminine and fiery⁄aggressive, symbolize the nature of intimacy and sexuality, and point to the connection of opposites, as a natural law of life.