Parkovni skulpturi Tree (Drevo) in Machine (Stroj) sta locirani na dvorišču, izzivajoč zaznavanje beneške kulise.

Projekta reflektirata lokacijo Ex Conventa na Sant'Eleni, ki leži na skrajni točki mesta, kjer obiskovalka in obiskovalec dobita občutek, da od te točke dalje obstajajo le še morje, veter in zrak.

Keramično drevo prevprašuje pojme kot so drevo, narava, okolje, njihove medsebojne povezanosti in odnose.

Stroj je v svoji pojavnosti bolj spada k žerjavom in transpoprtnim ladjam kot k muzejem ali galerijam, ki so historično lice Benetk. Zdi se kot neuporaben stroj, preko igrive interakcije z obiskovalci pa proizvaja zvok ali svetlobo ter tako napolni dvorišče z novimi, prej nedomačimi impulzi.

V večjem prostoru nekdanje cerkve se intermedijski objekt Glory (Slava) kaže kot soba, kot idealno skrivališče za iskalce slave pred kaosom in pritiski zunanjega sveta, vendar po vstopu vzdušje postane dvomljivo…

The sculptures Tree and Machine are both located in the courtyard, challenging the perception of Venice scenery.

The origin of these two projects lies in the reflection of the location of Ex Convento at Sant'Elena, which lies at the very end of Venice, the impression of a visitor being there is only sea, wind and air from that point on.

The ceramic tree invites the visitor to rethink the notion of a tree and nature. Machine is in its appereance more in the like of cranes and transport boats than museums or galleries, which are the historical face of Venice. It looks like a useless machine, upon playful interaction with the visitor however, it produces sound or light, filling the courtyard with new, previously unfamiliar impulses.

The intermedial object Glory shows itself as a room within the large inner space of the former church, a space seeming to be the perfect hiding place from the chaos and pressure of the outside world of the gloryseekers but after entering the atmosphere becomes ambigous...