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The composition is centered around four female figures united in a circular movement, reminiscent of a ritual or dance. This gesture, visually enclosed yet emotionally unstable, refers to the archetype of a singular body in the process of division—whether physical, psychological, or symbolic. It is a moment of becoming: when the whole is not yet released, but the need to separate and hear one’s own voice is already felt.
The choice of a contrasting palette—black and white—works not as a binary opposition, but as a representation of one cycle, two phases of a single breath. The flowers, crimson and heavy, seem to imprint themselves on the space—not as decorative elements, but as material evidence of love, or perhaps of farewell. The sea in the background intensifies the sense of infinity and movement: everything happening here is neither an end nor a beginning, but a moment.
The work speaks of growing up as an intensified state—when a person simultaneously feels themselves as an individual and as part of a collective. It is the search for balance between closeness and the need for inner growth, between openness and selfhood. The connections depicted in the scene are not abstract but alive, emotionally charged, fragile and strong at once. They form in the dance, in the touch, in the gaze—and it is through these connections that the self takes shape.
It is important to consider this work within the framework of the entire Cycle of Division series, which explores moments of transition—from merging to separating, from closeness to distance, from corporeality to image. This is an exploration of inner choreography—the one that plays out within each of us on the path to ourselves and to others.

Added Apr 9, 2025

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