The starting point of my work is my nearest environment, the basic, "naturally" structured communities like household, family or school with their mechanisms, rituals and schemes of mutual dependencies. Art provides me with an instrument for exploring these units, presenting them in new contexts and reflecting my own position within them. At the same time, I focus on the artistic process itself and its language: this implies permanent revisions of the classical ways of representation, artistic procedures and techniques. I work with everyday stories and situations, re-evaluating them, transforming them, locating them within new coordinates, given by my personal experience and biography. I examine simple actions by making their performance more difficult and extending their duration up to (or beyond) the limits of bearability. In this way I test my own physical dispositions, flexibility and limits of my ability to experience particular situations, spatial and personal relations. The outputs do not aim at unity in form and style, the drawings, objects and actions interpenetrate and complement one another. I take things out of their natural environments and rearrange them into new wholes. I transform them into functionless mechanisms, hybrids, conglomerates of shapes, materials, things with divergent memories. Particularly important is the way of installation. It determines the way of looking at things (often by means of an equipment construed for that purpose) or of moving about in the space, despite various obstacles set up for the body. The urge to involve the spectator into new environment, with its own impenetrable order, to expose him/her to a new perceptual experience, leads me to a permanent, perhaps rambling search for various forms of expression. The measure of their efficiency is the physical intensity and associative force of their impact on the spectator. However, an obsessive recording of things and situations by means of drawing remains for me the most intimate and direct way of expression.