The monumental floor installation “Home, sweet home II” uses the form of a well-known object, the crocheted milieu, to raise questions about transience and permanence. The very use of the form of an object that our time most often perceives as a superfluous, decorative object without any function, but which has not yet become a mere memory, points to the placement of this work in the corpus of those that examine the efemerall borders of the present and the past.
The crochet, namely, is a kind of reminder of the past in which women used the rest of their time to do manual work – completely unproductive from today’s perspective, except for the number of crochets left over from a time that did not know the concept of wellness.