There's something about my sentimentality to nostalgia and longing that make me want to create my own world through staging. That's why I perform — in order to try and  merge with different kinds of realities. I find it hard that there are times I wasn’t a part of - it’s like I am always missing something that wasn’t even mine to begin with. 
There is a contagious energy here that reminds me that it is the simplest, most fundamental things in life that move me the most: the sun burning my skin, the cold water, the fruit on the trees, the feeling of togetherness, creation and movement. But the slowest kind of movement, the kind that allows me to be fully present.
This setting provides the perfect backdrop for my performance. Throughout my time in Gardinovci, I searched for places that seemed frozen in time, places I could blend into. I wandered the village, looking for stages that the landscape and local aesthetics had already created, as well as ones that I built myself out of random objects  I found along the way. Sometimes I chose to stay behind the camera framing only a potential  stage -  an invitation for the viewer to step into it and become part of this reality with me.
Through these actions, I create a parallel reality: carefully constructed nostalgia; a distant dream; and the enduring human impulse to long for something just out of reach.