2025

 is currently one of my most time - consuming works. Let me explain: in terms of the physical labor and its complexity, there is nothing particularly special about the project, even though it required a very versatile approach and careful planning due to its scale and the great significance of each detail. And yet, the greatest challenge lay in its conceptual component - the first sketches were made around eight years ago, and this is a case where the form appeared first, and only then the meaning followed. In this case, it truly took all these years to comprehend the work (and even now, the understanding is not complete). Back then, the project already concerned war, but it was something abstract and still had to undergo many metamorphoses. Only in the last six months before exhebition, through discussions with my mentors, my opponent, and friends, it changed about 4–5 times, gaining in meaning and shedding the unnecessarys.

It is still difficult for me to fully and properly describe Dream Land. Perhaps because it primarily works with sensations and atmosphere - things that are hard to measure. At first glance, it contains very clear symbols, such as the Swords. Yet their meaning is not limited to weapons of violence. Yes, they are symbols of war, as is clearly indicated by the burnt structure, but on the other hand, they are made of wood and are fragile tools for self-expression - intended for writing or drawing within the installation, for recording a “history.”

These details, as well as others—the wooden floor, the paper covering all the walls, the charcoal rolling underfoot, its smell, and the scent of fresh wood - beyond their purely practical function, are meant to create an atmosphere. Just as Stone Age people painted in caves by firelight, modern humans fill concrete cities with tags. One of my main tasks was to release this energy through my work; the atmosphere was essential for that.

The focus of the work shifts from war itself toward history and human existence, which always leaves something behind. In this case, I do not judge what is good or bad, nor do I push the viewer. I only observe what people leave behind, giving each person space to decide for themselves - hoping to spark some thoughts. The project includes almost no instructions, so not everyone will guess, want to, or dare to participate. Leaving a mark always has its price. This idea is supported by the material of the swords, which stains the hand of anyone who touches them. This is an allegory that, in my feeling, brings the work closer to reality—you are unlikely to do something significant without getting your hands dirty. This does not necessarily mean committing a vile act, but perhaps doing hard work or making a sacrifice. Similarly, a sword is not only a symbol of violence but also of protecting loved ones, of honor, or, when inverted, can allude to a cross. Yet by explaining it this way, I feel the meaning is somehow diminished.

Overall, to put it simply, the installation is an allegory of human history. The swords symbolize the conflicts that can abruptly change its course and development.

It was very important to me to remove the artificiality that is often present in art - when it becomes, in a way, unreachable to the viewer. As I said, not every visitor may be able or willing to take part in this project, but it was important to give them that opportunity.

I wanted this work to provoke thoughts about responsibility and the idea that every action we take has consequences. In a more conscious and educated society, one that remembers the experience of past generations, I believe the likelihood of military conflicts is lower. This is the direction in which the global community should be moving.

The title Dream Land itself is somewhat sarcastic because, at this moment, the world that people have created is far from the ideal of our dreams and imaginations. I hope this will change.

Ph: KAte Kuzminska