The Zaporizhzhia Watchdog emerges from the occupation of the Zaporizhzhia Nuclear Power Plant, a site where military conflict intersects with infrastructure capable of producing irreversible, transboundary harm.

The work introduces the figure of the “watchdog” as a structural necessity rather than an individual role: a guardian of systems whose failure cannot be contained within political boundaries. Unlike conventional actors in conflict, this figure operates within a different logic—one defined not by control or victory, but by the prevention of shared catastrophe.

The nuclear site becomes a point of convergence where opposing forces are bound by a common vulnerability. In this context, infrastructure is no longer neutral or purely functional; it is exposed as a fragile condition upon which multiple systems depend simultaneously.

The piece frames this condition as a broader principle: that certain technologies exceed the frameworks designed to govern them, requiring forms of responsibility that are collective, continuous, and inherently unstable.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,9 cm x 42,7 cm (7,48 X 10 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: November 11, 2025
Print Size: 31,9 x 42,7cm
Paper Size: 42 x 59,4cm
Composition No.: 66

Rita Chernobyl presents the portrait of a woman shaped—and ultimately eroded—by historical catastrophe. Her figure remains, but her features are partially dissolved, suggesting not only physical damage but the gradual loss of identity under invisible forces.

She appears as a figure in dilution: outlines blurred, pigments leached, as if radiation has affected not only the body but its representation. The face resists full recognition—reduced to fragments, traces, and absences. This visual instability functions as a metaphor for erasure: the slow disappearance of the individual within systems of damage that are both unseen and insufficiently acknowledged.

The work does not depict a singular victim, but a condition. Rita becomes a residual figure—an index of how technological progress, when detached from responsibility, produces forms of harm that persist beyond visibility and beyond immediate accountability.

Rather than representing death, the piece addresses contamination: not only of the body, but of trust, of knowledge, and of the belief in controlled advancement. In this sense, Rita Chernobyl operates as a record of systemic failure, where the consequences of human action remain present but only partially perceptible.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching is hand pulled in a limited edition of 4 copies on 300 gram Hahnemuller etching paper. Plate size: 8.1 cm x 11.7 cm (3.2 X 4.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 8,1 x 11,7cm
Paper Size: 30 x 40cm
Composition No.: 43

The Prostitute presents a fragmented image reduced to a single feature. The absence of the full figure shifts attention to what remains visible, where identity is condensed into a surface shaped by interaction.

The work frames this reduction as a structural condition. The individual is not encountered as a whole, but through partial representations that are repeatedly engaged and altered. The smudged surface registers accumulation—contact, use, and transformation without continuity.

This condition produces a disjunction between presence and recognition. What is visible is accessible, yet incomplete; what constitutes the person remains obscured. Identity is not erased, but constrained within the limits of how it is perceived and engaged.

The piece isolates this dynamic as a broader principle: that systems of interaction can reduce individuals to functions, where visibility does not equate to acknowledgement, and where fragmentation becomes a persistent mode of existence.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 5 copies on 300 gram Hahnemuller etching paper. Plate size: 8.8 cm x 11 cm (2.8 X 3.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 8,8 x 11cm
Paper Size: 30 x 40cm
Composition No.: 18

The Barbarian presents a single hand defined by scale, weight, and potential force. Isolated from the body, it becomes less an anatomical detail and more a concentrated expression of power.

The work frames this power as latent rather than active. The hand is still, yet its form suggests capacity—grip, pressure, impact. What is shown is not an event, but the condition that precedes it: the presence of force without visible restraint.

This asymmetry extends beyond the figure itself. The hand implies a relational structure in which power is unevenly distributed, shaping how others must respond, anticipate, or adapt. The gesture does not need to act to define the space around it.

The piece isolates this condition as a broader principle: that dominance can exist as a persistent state, where the potential for action structures behavior even in its absence.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 7 cm x 9.2 cm (2.8 X 3.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 7 x 9,2cm
Paper Size: 30 x 40cm
Composition No.: 17

Witches’ Brew presents a simple vessel containing a dark liquid. The image is minimal and familiar, yet its contents introduce a sense of unease, shifting the object from neutral to charged.

The work frames this transformation as a condition of concealment. What appears ordinary becomes a carrier of latent meaning, where violence or harm is not visibly enacted, but contained and internalized. The act is not shown; only its preparation or residue is implied.

This displacement positions the object within a broader system of normalization. Harm is no longer external or overt, but embedded within everyday forms, where it can be absorbed, repeated, or overlooked.

The piece isolates this dynamic as a broader principle: that destructive conditions can persist through subtle integration, where what is consumed is not only material, but also ethical.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching on two separate copper plates is hand pulled in a limited edition of 7 copies on 300 gram Hahnemuller etching paper. Plate size: 10 cm x 12.8 cm (3.9 X 5 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 10 x 12,8cm
Paper Size: 30 x 40cm
Composition No.: 12

Dancer in the Dark presents a solitary figure positioned at the edge of a landscape, reduced to a small silhouette within a larger, indifferent environment. The surrounding space dominates, placing the figure in a condition of exposure and isolation.

The work frames this position as suspension. The figure stands between states—land and water, presence and withdrawal—without clear resolution. Movement is absent, yet the posture suggests an internal process that remains active but contained.

This stillness becomes structural. Rather than indicating rest, it reflects endurance: a condition in which continuation replaces progression. The environment does not respond, and the figure remains without external reference or support.

The piece isolates this dynamic as a broader principle: that isolation can become a persistent state in which the self is maintained through minimal stability, where presence continues without transformation.

DETAILS AND DIMENSIONS

This intaglio and aquatint etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 9 cm x 13 cm (3.5 X 5.1 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 9 x 13cm
Paper Size: 30 x 40cm
Composition No.: 4

Hey You, Yes You! presents an extended hand, open and directed outward. The gesture is simple, yet establishes a clear relational orientation—one defined by offering rather than imposition.

The work frames the hand as a condition of engagement. Unlike gestures shaped by control or force, this form remains open, creating the possibility of contact without determining its outcome. The act is not prescriptive, but invitational.

This openness introduces a different structure of power. Rather than asserting dominance, the gesture operates through recognition and availability, allowing relation to emerge without constraint. Vulnerability and agency coexist within the same form.

The piece isolates this condition as a broader principle: that interaction can be structured through openness rather than control, and that small acts of connection can redefine the dynamics of a given system.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 8 copies on 300 gram Hahnemuller etching paper. Plate size: 12.5 cm x 15.8 cm (3.9 X 6.2 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 12,5 x 15,8cm
Paper Size: 30 x 40cm
Composition No.: 16

The Pianist presents a pair of hands marked by use and deterioration. Their condition suggests a history of strain and exposure, where the body carries the imprint of lived experience.

The work frames the hands as a record rather than a symbol. Discoloration, asymmetry, and fragility register time and condition without explicit narration. What is shown is not an event, but its residue—retained within the structure of the body.

Despite this, the posture of the hands remains oriented toward function. Their positioning suggests continuity: a retained capacity for expression that persists beyond disruption. Form endures, even as it is altered.

The piece isolates this condition as a broader principle: that the body holds memory as structure, and that the capacity to create can persist within systems shaped by damage.

DETAILS AND DIMENSIONS

This intaglio and aquatint etching is hand pulled in a limited edition of 5 copies on 300 gram Hahnemuller etching paper. Plate size: 9.8 cm x 15.1 cm (3.8 X 5.9 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 9,8 x 15,1cm
Paper Size: 30 x 40cm
Composition No.: 20