In Nymphs 2.0, I revisit the classical tradition of depicting bathing women—from ancient nymphs to 19th-century odalisques—but through my own lens as a contemporary female artist. I wanted to question the long-standing art historical gaze that has rendered women as passive, idealized subjects of desire. By softening focus, abstracting form, and removing identifying features, I’m intentionally dissolving the body—not to erase it, but to reclaim it.
These figures are no longer bound to nature or myth. Instead, they inhabit dreamlike spaces where water becomes a symbol rather than a setting—something closer to code than to landscape. For me, these spaces reflect a contemporary condition: disembodiment, anonymity, and the blurred boundary between real and virtual. This is where I place my modern nymphs—not as muses, but as authors of their own presence.
These figures are no longer bound to nature or myth. Instead, they inhabit dreamlike spaces where water becomes a symbol rather than a setting—something closer to code than to landscape. For me, these spaces reflect a contemporary condition: disembodiment, anonymity, and the blurred boundary between real and virtual. This is where I place my modern nymphs—not as muses, but as authors of their own presence.
My visual language is shaped by modernist influences like Matisse, Modigliani, Magritte and Malevich. Their bold color and symbolic abstraction offered me a way to move beyond realism and engage with the body as a conceptual and emotional form. Through this series, I’m not just revisiting history—I’m trying to reimagine it on my own terms.
