The series explores the subjective experience of freedom, shifting the focus onto objects that, in one way or another, embody the places or phenomena that evoke this sensation.

The project is divided into two stages. The first stage works with a method of tactile documentation. Casts, taken from surfaces and objects, are translated into digital scans, forming a unique archive. These fragments are not merely a record of matter, but rather its genetic code: a minimal unit through which the whole could potentially be reconstructed.

The second stage of the project is a transition from documentation to material embodiment. Based on the casts, wax objects are created, which become not precise copies, but rather memories of the original source. This is not a reconstruction, but rather a dialogue—an attempt to reproduce not the object itself, but the sensation associated with it. The finished sculptures exist in the space between recognition and distortion. They retain a hint of the source material, but not its literal embodiment—as if the feeling of freedom were conveyed not through precise details, but through a plastic gesture.

The green color of the objects is not merely a visual choice, but a reference to their intermediate status. As in classical color theories (Itten, Kandinsky), it balances between excitement and decline, reflecting the very nature of the project: freedom here is not an extreme, but an equilibrium.

"Three Plantains, Two Dandelions, and a Chestnut" is a reference to a children's game. It recalls a state in which freedom is not an abstraction, but a natural perception of the world.