JUST DECORATION 2.0 exhibition
LocationPOP&ROLL
JUST DECORATION
acrylic on PVC, 120 x 50 cm, 2024 A giant, double-sided clothing tag in vibrant colors, this acrylic painting displays the “JUST DECORATION” logo on one side and the price of the work in multiple currencies on the other, like on an original product label.
ENJOY
fiber glass, plywood, artificial leather, 249 x 300 x 280 cm, 2025 This oversized plush bunny, with ‘ENJOY’ emblazoned across its face and its ears transformed into functional sofas, appears as if casually discarded. Both a playful sculpture and a usable design object, it evokes childhood nostalgia. The “ENJOY” inscription on its face serves as both a simple invitation to rest and relax and, due to its size and context, has a subtle ironic undertone.
SORRY
acrilyc on FRP, 80 x 60 x 40 cm, 2024 - 2025 Many of us know the feeling when, due to our vulnerable position, we are forced to apologize. It’s when we have to humble ourselves before someone and repeat, SORRY, SORRY, while in reality, we would rather use obscene words against that person. Due to the pressure to conform to external expectations, we cannot share our true feelings face-to-face, leaving the only options as suppression or a secretly held, angry reaction. This familiar feeling is perhaps even more powerful when represented by a cute, seemingly harmless figure that suggests humiliation.
ENJOY
XPS, OSB, plywood, cotton wool, wool felt, leather, 300 x 290 x 260 cm, 2023-2024 This is a giant teddy bear with the inscription “ENJOY” on its face and an armchair inside its belly. The artwork is both a functional object and a sculpture, creating childhood nostalgia and an intimate space. The “ENJOY” inscription on its face serves as both a simple invitation to rest and relax and, due to its size and context, has a subtle ironic undertone.
DECOR (TABLE)
MDF, walnut wood, 40 x 50 x 40 cm, 2025 A simple small table. The monkey face on the tabletop is formed by the letters of the word DECOR, because this is just a ‘decoration’ piece.
DECOR (OTTOMAN)
EPS, artificial leather, linden wood, plywood, MDF, Polyurethane Foam, 50 x 37 cm, 2025 A simple ottoman. The bearded man’s face on its side is formed by the letters of the word DECOR, because this is also just a ‘decoration’ piece.
GONE
hand tufted rug from India, 300 x 175 cm, 2024 The size of the spread-out tiger rug (3 m) corresponds to the average body length of a tiger (2.2 - 3.3 m). This is a frequently used graphic and decorative element. However, the word ‘GONE’ on its face refers to extinct tiger species and their endangered status. The rug was handmade in India.
EASY TO SEE
hand tufted rug, 87 x 226,5 cm, 2021 The EASY TO SEE inscription on the rug is an ironic reference to the fact that the work has no deeper meaning, as it is, in reality, JUST DECORATION.
DECOR SERIES
2025 The DECOR series is a revival of vases that have become redundant to their owners, each given a unique, painted face. Each piece is a one-of-a-kind creation. The faces on the vases are formed from the letters of the word “DECOR,” creating a visual puzzle that alludes to the function of the works. The artist uses the principle of upcycling to transform these surplus objects into art. Through a conscious artistic gesture, the vases become both utilitarian objects and works of art, all while the artist emphasizes that they remain mere decorations. This duality is a conceptual game that questions the traditional boundaries between art and design. Built on the concept of the found object (ready-made), the DECOR series balances between collectible design and the art object, prompting us to reflect on the true value of objects and the power of changing their function.
BEAUTY IN UNEASE
acrilyc on wood, 54 x 21 x 21 cm, 2025 The artwork “BEAUTY IN UNEASE” was born from a damaged, woodworm-eaten, discarded wooden sculpture that could have originally served as a decorative object. After its transformation by the artist, the word ANXIOUS forms the face of the sculpture, while its body is speckled with decorative blue brushstrokes. The almost animal-like creature protectively holds its belly. She is pregnant. The core concept of the piece is to highlight a mother-to-be’s deep, existential anxiety about her future, her child, and her own destiny. At the same time, the artist also alludes to their own uncertainty with the word ANXIOUS, as art is a form of creation whose value and acceptance the artist constantly questions.
ANXIOUS Mask
acrilyc on wood, 30 x 20 cm, 2025 The artwork is based on a damaged ‘found object’—a tribal mask likely intended for decorative purposes. Following its transformation, the mask’s face is formed by the letters of the word ‘ANXIOUS’. The mask retains its original function, yet creates a paradoxical situation: covering the eye and mouth slots prevents the wearer from seeing out, isolating them from the outside world. While ancient masks concealed identity or aided transformation, modern ‘masks’ (social roles) are generally intended to show a ‘better self.’ This artwork operates in reverse: the adopted mask displays anxiety. The mask’s visual, decorative beauty elevates the piece, making it simultaneously an art object and a wall-mountable decoration.
ARTY / FARTY
acrylic on PLA, 20 x 10 x 30 cm, 2025 This small, heavily painted sculpture depicts a four-legged creature with a dual identity: faces are formed by the words ‘ARTY’ on one side and ‘FARTY’ on the other. This figure, with its expressive, thick paintwork, is fundamentally an artwork, yet its simple form and inherently decorative appearance allow it to be easily interpreted as a mere shelf ornament or design object. The title and the dual faces are a clear mockery of this duality: while ‘ARTY’ suggests artistic sophistication, ‘FARTY’ (a colloquialism for flatulence) grounds the piece in the vulgar and highlights the intended ‘ass-end’ of the figure.
TWIST
acrylic on PVC, 100 x 100 cm, 2025
SALE
acrylic on PVC, 100 x 80 cm, 2025
LOOK’IN GLASS
mirror, PVC, 74 x 90 cm, 2025 Functional wall mirror. The monkey-like face is formed by the letters of the word LOOK. Are we looking at ourselves through the ‘monkey’ face, or are we looking at the object? Perhaps this ‘face’ is looking at its surroundings? Decoration, utilitarian object, art object?
TABLE OF FREEDOM
FRP, MDF, glass, 73,5 x 122 x 122 cm, 2024-2025 The artwork titled Table of Freedom moves along the boundary between functional design and conceptual sculpture. Three unified figures, each with the word ‘FREE’ forming their faces, collectively support the round tabletop. The figure is a complex metaphor for the illusion of freedom and servitude. It forces the viewer to confront the central ambivalence: Are the figures serving others under the illusion of freedom, or have they freely chosen servitude? The artwork contrasts the Camelot ideal of social equality (‘Round Table’) with the Orwellian reality (‘some are more equal than others’).
posted in: Fine Art