The thin metal circle, exhibited in Dunjaka Streda, functioned as a fragile boundary—more a vibration than an object. It framed the space lightly, almost disappearing into the wall, yet holding a precise tension between presence and invisibility. During the performance, a passer-by moved through the installation wearing the shoes I had found, activating the piece with a minimal choreography. The circle became a perimeter of possibility, an edge that connected discarded objects, movement, and the faint trace of a narrative. Its simplicity was its force: a line that marked a moment, a limit that remained open.
