Whilst in “Origami Extinction”, the artist focused on a purely aesthetic aspect to create a potent effect on the audience, in “Origami Renaissance” (2022- ), she decided to take it a step further in exploring the materiality behind the artwork and symbolism. Thus, she decided to invite the only element more destructive than humans: fire, so as to represent the magnitude and speed of our destruction of animal species.

 

Through destruction, the artist has captured the makings of fire and the transformative aspect of its nature, as the materials employed, which it interacts with, are completely and constantly modified by it, taking new ever-changing shapes, at an extremely fast rate, she bears the witness to.

 

Taking multiple or single photographs of these rapidly vanishing moments, the artist has wanted to illustrate the power of destruction and the beauty that can emerge of what enabled the human race to become the first race – an interesting, ironic combination of two living organisms with a great capacity of annihilation. Fire is also highly symbolic, as it is one of the natural disasters that have been increasing in recent years and caused immense ravages to human activities and wild fauna alike.

 

Each element in the pictures have been hit by fire, but just as much as the latter stands for utter destruction it also represents renaissance, as with the phoenix resurrecting from its ashes. Therefore, “Origami Renaissance” presents animal species, which were thought to have disappeared, but have been rediscovered. The grave tonality of the series is thusly cladded with hope, as humans still have the power to change and reverse the course of their actions. Like in “Origami Extinction”, only one kind of origami has been used, here the dove, a symbol of peace and hope. All photographs are numbered and limited to six editions.