My sculpture “A Great Pyramid” was inspired by the abstract visual language of Kenneth Noland.
Noland’s improvisational approach to color and form has always fascinated me. While designing my own digital patterns, I found myself drawn to the intuitive search for structure within chaos. This piece was born not from logic, but from symbolic resonance — I followed the free movement of the soul, allowing emotion and instinct to guide the composition.
My inner world is often raw, primitive, as if my brain returns to the foundations of construction. Some might interpret this as disorientation — one called it brain damage, another called it spiritual clarity — but for me, it’s simply what it feels like to be alive in the routine of creation.
Art becomes my tool of vision.
When I work, I sense movement in the air and beneath my skin, yet I can’t always name it. The process is often uncomfortable, even painful, until something emerges that feels objective and grounded. In this way, I don’t seek what is right or wrong — I seek what is true to the moment.
In A Great Pyramid, unshaped but powerful emotional waves were translated into sculptural geometry.
The pyramid itself became a metaphor for emotional blockage — an internal pressure that once sat in my stomach, now transformed into a monumental, open mouth. It is not just a form — it is a release.
This sculpture is, above all, a symbol of self-inquiry — of the deep psychological and spiritual layers that rise to the surface when we allow ourselves to build not from the outside, but from the truth within.
MARIA MIR 