Out of different masses, tight, heavy, middlingâindicated by variations of size or colorâdirectional lineâvectors which represent speeds, velocities, accelerations, forces, etc. . . .âthese directions making between them meaningful angles, and senses, together defining one big conclusion or many.
 Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds.
 Abstractions that are like nothing in life except in their manner of reacting.â      Just as in the works of Alexander Calder (Mobile 1932), I wanted in the process of looking for my own balance and harmony, to try to create a work in which the elements are coupled together, so that their mutual connection is maintained in a constant and continuous flow. Materials objects, shapes, colors and different sizes are pruned by yarns and rods. They will continue to move, and thus the work will always catch new forms. The song, every time you look at it, is a new version of herself. But it is the same work with the same message, to be permanently in search of your own flexibility and vital balance. I felt so suggestive of Alexander Calder's work, and the way I suppose I had to work to balance objects of different lengths, weights and dimensions, so that I let myself be inspired and inspired by his works, in an attempt to present my own artistic message in a somewhat similar way. I think our life is the way we choose to look for and find our way to ourselves by accessing and combining the elements inside and around us, putting them together and balancing them in an attempt to test and provoke that the harmony we need so much. Every idea I used in the work, every evolution of this idea and every new form of it, appears and develops as a consequence of the previous idea, creating a strong and coherent connection between them. Which means that the first idea in this chain, which opens all the improvisations, is very important and plays an essential role in the perfection and significance of this piece of art. And this primordial idea, I might have been told and inspired by how Alexander Calder managed to mount some of his works (Steel Fish 1934, Triple Gong 1948), and the message he managed to convey. I had this idea, in a world where everything seems to drift, to concretize with sincerity, the state of continual questing and balancing between imbalance and balance, regarding the visible world but also perceiving what is beyond the senses, printing a movement of different elements, from different materials and forms, suggesting an attempt to hold control in this walk, often faltering on the edge separating the harmony of chaos, allowing magnetic energy and attraction to function freely, spiritualism matter in a search of balance through asymmetry, physical, perception, or even moral. I chose to deeply identify myself with my work, because I do not play here except what I really are.  Even if it is easier to express what you are looking for than what you have already found, it took some time for thought, introspection and complete dedication to find the most eloquent and most suggestive way of presenting me in the work "Looking for balance," the individuality of thought, ingeniousness and imagination. The study of the world in which we live, as well as the works of artists (Fischli and Weiss, Marcel Duchamp, Dieter Roth, Jean Tinguely, Alexander Calder) that stimulated and inspired my work, I always considered it the most useful I have never separated myself through the entire creative process. She absolutely identifies me with my work, because I usually only express what I feel and what I am. Thoreau said, "Until we feel lost, we will not go to our search." So the state of movement and search is perpetual and very important, because it gives value and a flow of energy and spirit in my own work. Thus, in my attempt to seek and play a path as close as possible to steady state and connection with the inner self, I also put a glimpse of my soul in these forms of movement and feeling. I have tried, that my idea of ââpresenting a way of finding the balance is as spontaneous. Even though they have influenced the works and ideas of artists, I wanted the message in my work to flow, not to be forced, even to excite.  Because in art I think that his effort and his suggestion actually annihilate the state of emotions and their transmission. An artwork can never offer more than invested in it. I do not know a deeper soul experience than my art. And my art is actually the balance between the brain and the heart, a balance triggered by both asymmetry and an infinite search for inner harmony.                      Â
