The ironic title "Potter’s Model" conceals a deeper meaning. In ceramic art, pottery is traditionally not considered fine art and is instead classified as craft.

This sculpture is composed of numerous small clay pots. In Ukraine, such pots were once called “monetky” — traditional items that were sometimes used as small change at markets.

The composition itself is a sculptural form that transcends the category of craft, yet it is entirely made from utilitarian elements. This straightforward but precise artistic statement challenges the conventional boundaries between art and craft.

This is a fragmented figure of a female body, covered with lines from André Breton’s poem "Plutôt la vie" (“Rather Life”, 1923). The poet wrote this text during one of the most difficult periods of his life, choosing life despite the world around him being engulfed in war and chaos.

Elizaveta created this piece in a similar state — at the moment when war broke out in Ukraine. She too was faced with the choice of whether to continue living or to erase everything she had accomplished before.

The work does not offer an answer to whether life is possible during or after such a tragedy. What is clear is that life will never be the same. What has been lived through leaves deep traces and strips away any sense of carefreeness.