Artwork Description
Another piece from the “Woman’s Fate Broken on The Wheel” series is the ”Sphinx Broken on the Wheel”.
The Sphinx represents a female archetype—depicting the psychological profile of the unreachable, intellectual woman. The artwork explores the cause-and-effect dynamics that give rise to this female defense mechanism. The Sphinx-woman embodies a negative schema symbolized by the “monstrous woman” archetype: a figure who rewards intellectual prowess with her attention and support, but punishes incorrect responses by “devouring” the challenger.
This type of woman often endures significant hardships in childhood, which harden her character and push her toward perfectionism. Her primary motivation becomes achievement, which in turn makes her emotionally inaccessible to others.
The artwork, using the motif of the breaking wheel, reflects on how society breaks and hardens women—and then stigmatizes them. The strong, intellectually independent woman is reframed as a weakness, even demonized, described as masculine or like a monstrous dragon because of her defensive responses.
The artwork can be suspended from the ceiling or hung from a corner of the exhibition space so that it appears to float in the air. It can also be easily displayed on a wall, or even function as an interactive piece when installed on a base, such as a wheel-of-fortune structure.
Biography
was born in 1997 in Miercurea Ciuc (Csíkszereda), Romania. I currently live and work in Budapest. In 2021, I received my MA degree in Graphic Arts from the Hungarian University of Fine Arts. In 2019, I was awarded the László Csomor Prize. During my university years, I was twice a recipient of the New National Excellence Program research scholarship, and I also spent a year studying at the Academy of Fine Arts in Rome.
Since 2017, I have regularly participated in national and international exhibitions and biennials. My most recent solo exhibition was realized in collaboration with Martha Kicsiny at the am projects space of Molnár Ani Gallery. Since 2022, I have been a member of the Studio of Young Artists Association. In 2025, I was awarded a creative grant from the National Cultural Fund, and in 2026, I participated in the Gauder Artist Residency Program in Marrakech.
Artist Statement
In my artistic practice, I examine female identity as both a socially constructed and personally lived experience. My work centers on the ambivalent position of the “woman as plaything or player,” as well as the behavioral patterns, role expectations, and power dynamics associated with it.
In my work, play functions not merely as a metaphor but as a structuring principle. I create situations and installations that appear seductive, decorative, and light at first glance, yet gradually reveal the underlying systems of rules and tensions that shape them. For me, play is both a space of participation and subordination—a model through which social roles and their embedded expectations become visible.
My objects and installations present different, often contradictory aspects of womanhood. These archetypes are shaped by cultural narratives, the male gaze, and the contemporary media environment, while also reflecting on relational dynamics between women and men, as well as among women themselves. Working from an Eastern European context, I am particularly interested in how universal female roles are transformed by local cultural patterns and global visual culture.
Engaging the viewer as an active participant is central to my practice. Through interactive, multisensory installations—often incorporating mirrors, plexiglass, and reflective surfaces—I encourage self-reflection while positioning the viewer as part of the work. In this way, the audience becomes not merely an observer but a participant in the “games” that operate as models of social structures.
My material use emphasizes glossy, decorative surfaces that evoke the aesthetics of pop culture and luxury. These visual elements function as tools of seduction while carrying ambivalent meanings: they are simultaneously attractive and invite critical interpretation. The tension between decoration and critical content is a key organizing principle in my work.
My practice explores how social expectations shape self-perception, decision-making, and relationships, and what strategies we employ to navigate these frameworks. The situations I create allow for the slippage, reconfiguration, and questioning of roles, opening space for gestures of resistance and reinterpretation.