Because I'm trying to make my project more of a sensorial experience rather than just a flat line up, I'm interested into how I can translate one sense into another; in this instance, I was inspired by how Marina wrote a fully detailed description of her performance, which alongside with the pictures, reproduced analytically the performance in my head without actually seeing it. I will try to alter and interchange senses, so I can make my project as inclusive as possible; most of all, concentrating on textures.

As even the title states, the two engage into creating a relationship with the space with their surroundings. Besides the concept, I was also very interested into how body movement influences the shape, creating blurring or new outlines. I will try to include the pictures as an idea for future prints, but I will also think about it in terms of using the shapes for the development collages.

Magdalena and Bogdan Pelmus made me think about another Eastern European couple who worked together: Marina and Ulay. For an extended period of time, the two engaged into pushing the boundaries of performance art, but also into what relations and connections between two people mean. They challenged vulnerability, love, sadness and empathy in their collaborative work through using their body as a primary tool. "Night Sea Crossing" made me think of 2 aspects: connection and disconnection. Connection, in terms of how Marina and Ulay maintain a constant relation by looking at each other but also how they connect with the different spaces they perform in, as the space becomes part of the performance. But even though they are relating to the space, disconnection is in terms of how their feelings make them disconnect from the space they are in, no matter where they are. I want to try and explore this contrast through my sample as a symbol of how people connect with each other but also (dis)connect constantly to their surrounding as well.

Concrete was a film which made me think of post-communist Romania and the effects liberalism had on what communism had built over the years. As a 2000s kid, I never knew how communism felt, but there was always one element that will always remind everyone of that era, which is architecture. Building, in communism, was one of the most important things, as they were in a constant industrialisation, as Romania was an underdeveloped country and Ceausescu wanted it to level up to other countries. As a lot of businesses stopped after the downfall, factories and Industrial sites were abandoned; moreover, the apartment buildings started to deteriorate. I was always fascinated of all the textures and the wide range of tones found in the concrete walls of the abandoned sites, in which I will research more for textures.

Magdalena works very often in collaboration with her husband, Bogdan Pelmus. His work revolves around researching the everyday surroundings and understanding how they are trying to change in order to be in conformity to proposed global values. His work is mostly concept centric rather than emphasising realistic visuals, but I really loved the way he looks into how Eastern countries "alter their shape and content according to the Western template, using social, political, cultural clichés" by accentuating how mass industrialisation degrades humans and nature. He tries to create a connection between the human and the spaces it is surrounded by, that somehow dictate its path.

Mgdalena Pelmus is a Romanian artist, based in Bucharest. As she describes, her art "is mostly an archive of the diversity of human emotions, a reflection on the human universe in it’s fragility, mapping the situations of anxiety and fragility.” I met Magdalena in 2015, as she was my first painting teacher in high school. She was the starting point in my project, around whom I developed my final concept, because she has had a substantial influence on how I see and perceive contemporary art now. Fragile Anatomy is a project concentrated on exploring different parts of the human body through the emotions they emanate. All the pieces are hand beaded with glass beads, which make the work very personal and emotional through the intense and extensive work put into make the pieces. I will include beading as one of the primary techniques, as I found very interesting how this technique somehow translates movement, textures and form, as well as establishing a profound connection between the maker and the artwork due to the efforts put in.

Magdalena's series of performative jewellery concentrates on emphasising the emotional nature of humans, as shown in the weeping ritual. I really like the idea of transforming something mentally, emotionally, non touchable into something real, tangible. Glass beads are a recurrent material used in her artworks recently, and the idea of using a lot of small pieces to puzzle up a concept intrigues me. 

Identity Angst is a project that inspired me a lot, as it questions the idea of who you are and how you perceive yourself. In communism, humans and their rights or emotions were something that was always covered, as the country was constantly putting a happy face on a nation of sad, oppressed people. In each artwork, Magdalena either shows or covers certain parts of the body, to either emphasise it or to create mystery which I will try to use in my drapings as development.