From time to time, a specific object gains prominence in my work—typically items drawn from my personal environment. At the same time, an intuitive creative process remains essential to me. In these three works, the “basin” emerges as a recurring motif. In this work, I present the basin as an aquarium-like installation, where a plastic basin floats on water inside a Plexiglass case. As the title suggests, the basin serves as a metaphor for a boat or an ark. While a boat can be life-saving after an accident, individuals remain profoundly vulnerable on the open water.

Two of the three pieces are paintings in which an almost entirely naked woman forms a composition with a pink plastic basin. In my practice, the representation of the naked female body always refers to intimacy or vulnerability. The basin and water are linked through the act of ablution, evoking themes of female sin and purification. These two paintings create a sense of performance, as if they were individual scenes from a live action.

In this piece, “Expectant“, it remains unclear what the figure is waiting for. The basin is empty, and the woman is undressed, wearing only an undergarment. The title may refer to pregnancy (expecting), but it also alludes to an impending “flood” of problems for which one waits idly.

In “Flood,” a naked woman stands inside the basin. The atmosphere is somber, dictated by the gray palette and the woman’s facial expression; yet, her positioning within the basin introduces an element of the absurd. I present the figure within her “ark,” but the rising water that preceded this interior flood remains unseen. The title is not meant to be didactic; the “flood” represents an unresolved difficulty, while the basin functions as a transparent vessel for escape and survival—even if it may ultimately be unfit for the task.

The basin can also represent feminine principles, though an inherent ambivalence is detectable in my work. This ambivalence stems from the paradox of classical female expectations and the domestic roles associated with the object. The object represents the individual’s psychological trap, which may arise from various internal conflicts.

The circular shape of the basin evokes an endless, perpetual cycle, referring to recurring, unresolved problems or a paralysis of decision-making. Inaction or poorly judged action represents the absence of a solution. Ultimately, these works do not tell a linear story; instead, they are impressions and flashing études that gain their full meaning through their shared context.