The inclusion of a surveillance system, a military radar developed specifically to monitor the movement of people along state borders, is, from the author’s point of view, the inclusion of the ultimate surveillance tool. Thus, on the one hand, we have technology that is a symbol of the complete militarization of state borders, and on the other, drops of water, which in a poetic way symbolize the transience, fragility and automation of the individual. The semantics of the materiality, surveillance and the drops of water that dissolve in the highly aesthetic, mirror pool in the gallery, directs the visitor to the dichotomy system -individual. The radar system of latently militarized postcolonial culture on the one hand, and the fluidity and ephemerality of the material, drawing attention to the bitterness of the regression of the individual into a statistical number.
In the project Walking on the Water, the author focuses on the global reorganization of the world caused by wars, climate extremes and economic opportunities. Through this thematisation, the concept of the nation-state is manifested as a historically surviving socio-political form, as the multinationality that emerges with migrants in national (nationalist) discourses constantly generating conflicts.The project consists of three parts: the control system, the cybernetic system and the pool as a sublime aesthetic object.



