These translucent wool-fiber cubes originated during a period when two seemingly distinct worlds were converging in my practice: medicine and art. Having spent years studying the intricate structures and rhythms of the human body, I became increasingly fascinated by the hidden architectures that sustain life – the microscopic networks, cellular formations, and organic geometries that exist beyond ordinary perception. At the same time, I found myself drawn to the clarity and restraint of Minimalism, particularly the work of Donald Judd and Sol LeWitt, whose investigations of repetition, modularity, and spatial relationships offered a language through which complexity could be distilled into essential form.
Constructed from wool fibers, a material deeply embedded in the cultural traditions of my Serbian upbringing, the cubes occupy a space between the organic and the geometric, the scientific and the poetic. Their translucent surfaces invite light to penetrate and activate the work from within, transforming rigid structures into luminous, breathing forms. The use of wool introduces a sense of warmth, memory, and touch, counterbalancing the precision of the cube and grounding the work in lived experience.
Although abstract, these sculptures emerged from an ongoing contemplation of the body as both biological system and site of wonder. Their cellular appearance evokes microscopic life, while their repetitive modularity suggests larger ecological and cosmic patterns. In this way, the works explore a continuum between microcosm and macrocosm, revealing unexpected connections between natural processes, material culture, and human perception.
The cubes were first presented in Drawing With Science, my MFA thesis exhibition at the Savannah College of Art and Design, where they formed part of a broader inquiry into how scientific observation can become a source of aesthetic experience and contemplation.
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