I entered art through sculpture. During my academic years I was deeply involved in  interpretation of sculpture by Reiner Maria Rilke, who had been interpreting Rodin's sculptures as the objects sunken in silence. Later on I thought about that silence and found it quite unusual. It seemed to be set within the context of the museum contemplation, which was actually  like a part of consecration and not at all the characteristic of sculptures. As a matter of fact, making sculptures is a very noisy activity . And consequently, it damaged my balance­organ in the inner ear. That way I rediscovered that whenever my body is in "conflict" with sculptures, it is exposed to unpredictable interactions. It is interesting that the majority of the "profession" has placed these interactions into the spatio­physical constellation. However, the perception of sculpture takes place through the reconstruction of two­dimensional images, which gives an impression of a three­dimensional experience. But the paradox is that the three­dimensional experience we recognize is actually the sound that takes place behind us, behind our ears. Therefore, I can say that noisy sculpturing provides the only real contemplation into which an artist is deeply absorbed. Due to the experience  of noise I began to think how to preserve the dimension of noise once my exhibits were to be set up in a gallery. Consequently ,my sculptures were no longer made in my studio but in a gallery. Moreover, they no longer wanted to be "sculptures" but have changed into their own remains, screens, images, structures that have beenconquering an individual gallery . The acoustic dimension of sculpturing has quietened down and started to absorb the sounds of "reality" which has ­ since 11th September ­ hysterically assumed the nature of the explosion's "shockwave" and tried to cut off any other articulations. That is why I have set installations that are trying to act as a shelter to the sounds that resist the attempt to drown them out. In my installation No Memory ­ No Distance the shelter has started to change into an organism creating its sound image from the sound patterns I have placed into the structure. That has brought me to a conclusion that the majority of literature dealing with the problems of linguistics studied the particular phenomena of a language as individual entities. On the other hand, I have created a matrix network of statements that belong to different geographical areas but share the same or very similar meanings, and articulated it in the project