I create to survive, I create to pass on. When other children at school drew their future on paper, I drew on the walls of my room, but my subconscious somatic direction was being built earlier than I was able to name it and remember it. My first sentence when I was one year old was not like the sentence of my daughter: “Where is the balloon?” but “Don’t touch that,” which I said to my grandfather when he touched the painting and wanted to take it off the wall in the direct view of my crib.
That was the first time I shocked, disoriented, and engulfed my surroundings.
In the 7th grade of elementary school, I cut out dozens of butterflies from paper under the strict prohibition of not touching the walls with glue, tape, nails, and anything that leaves a colored trace, colored them in, and anchored them to the wall with chewing gum. When the windows were open, they moved in waves. (I had and still have a phobia of live butterflies)
When dad entered the room, his question was not “why,” but “how.” He came closer, crouched down, walked around them, before he even managed to get angry with me. I didn’t put them there with bad intention or defiance, I just had a nagging need to feel different in that space. I just had a need to actively participate in changing the energy in the room and it is fascinating to be there when someone enters.
It is like a dialogue. I create, present, describe, but above all I sign in today’s time in the form of my works. It is my inner map, when I look at it work by work, I see not only a reflection in time, but also myself in reaction to the present time. My upbringing carries the order of architecture and my brain the discipline of law, but my hands speak a language that cannot be learned from books. I create at the point where logic ends and transformation begins. The BABYLON series was my purgatory. It is salt, dust, time, fire of earth and water, magic and Sumerian rituals. It is a testimony of the struggle for survival. And now comes METATRON’ZOLDAMEDA. My eyes change color along with my works. I discover the boundaries of gravity as well as wonder, reflection on how engaged you will be? The threshold between the perceived and the recognized, and through Enochian and sacred geometry (Metatron) I pass through technologies, societal isolation, paradoxes, history, physics, psychology, time, life. With the awareness that every life also has death. What does the body know before the mind decides what it is actually looking at? How much changes when things are named?
In the spirit of my ESA Millie, who was an integral part of my development and left me suddenly and too soon, the Millie series will also be created. From excess materials that would otherwise be thrown away, I recycle them into small sculptures and try to give them a second life as well.
I do not intend to donate all proceeds to animals, but to owners of animals with congenital defects.
In the space of Nicol, interpretation is replaced by a controlled collision. Entering the room, gravity itself seems to have forgotten its ordinary laws
objects that are monumental, physical, and unsettling in their presence hang from a single point. This single anchor the point of convergence bearing the entire structural integrity of the piece is a physical paradox that instantly disables the viewer's impulse to categorize.
Across art, physics, mathematics, history, thermodynamics, paradoxes, scales, and time. I work with a functional spatial operation that actively redefines space and our relationship to it.
In an environment saturated with information and increasing entropy, the work functions as a filter and a generator of experience. The viewer stops.
The body adapts object the object adapts space.
The gaze returns, repeats itself, and recalculates scale, mass, distance, and stability. Space ceases to be a neutral background and becomes an active participant. The viewer does not simply enter the work they enter a situation that changes them. Orientation reduces dispersion. What initially appears as visual dissonance gradually settles in the body as deep consonance. From the continuous flow of thoughts emerges a calm that is unconditional and unexpected.
This shift is physically observable. In the vicinity of the installations, a silencing of the space occurs. The body releases external motor activity, and the noise of the surroundings drops as a direct consequence of a change in energy density. The work draws scattered energy from its environment and concentrates it into a point where linear time and external entropy lose their relevance. What remains is a purified space — a state of zero. Beauty here does not reside in the object itself, but in the moment when the ruins of history, personal life, and civilizational structures become an energy shield. The work is therefore not a final artefact, but a tool that cleanses reality and enforces absolute presence as the only logical constant.
The practice evolves across scales — from canvas through painting, sculpture, and object to immersive installations. All parts belong to one coherent system that, across disciplines and times, pursues a single question: how can decay serve as activation? The energy released by destruction ceases to disperse and begins to organise into negentropic structures — geometrically precise, ritually grounded, emerging intuitively from a single material through fire, water, and colour.
Babylon serves here as a model of collapse, not as the past. I revive its principles across time as a living chronological interference and preserve them through the structure of blockchain as a living chain. Just as in my own life collapses, the Encholian Principle acts as a stabilising force that concentrates the released energy. From chaos arises order, from dispersion comes concentration, from heaviness the paradox of lightness. From danger comes safety and awe, the place where cognitive overload transforms into systemic recalibration.
In this way, the works do not merely represent but actively create the conditions for a new way of being in space and time. They repay the debt of the past and open the present as the only place where the future can emerge.
In this way, the works do not merely represent but actively create the conditions for a new way of being in space and time. They repay the debt of the past and open the present as the only place where the future can emerge.
I am the first in the night sky and the last in the morning heaven, I count the stars all night to see the light first.
Nicol
