The work explores the phenomenon of idealisation as a way of engaging with reality in which the psychic, the material and the imaginary prove inseparable.
Idealisation is understood not only as a psychological mechanism that provides protection from uncertainty, but also as a tool for projecting and shaping the world, based on attributing desired characteristics to an external object.
The material does not fully submit to perceptual structures: it continues to act, to resist and to break through the images imposed upon it. The visual composition is built on contrast — a decorative layer conceals a predatory form but does not eliminate its presence.
IDEALIS articulates the tension between the visible and the actual, between projection and the object’s resistance. The question posed by the work concerns not only the psychology of perception, but also the ontological status of form: to what extent an object can be reduced to an image, and where its own form begins.