Son of Lilith

Our choices define who we are — or at least, that is what we are led to believe.

In truth, most decisions arise from layers of conditioning so deep they masquerade as free will. What we call choice is often the final mask of obedience.

To confront the origin of this conditioning, we turn to one of humanity’s oldest myths: Lilith, the first woman who chose exile over submission. She is the archetype of spiritual disobedience, showing us the power of saying no to the world in order to remain whole.

Her presence had already entered my work in The Great Mother — the first time Lilith appeared not as a myth, but as a living energy.

Son of Lilith invites us to explore this radical sovereignty. It is series in which her rebellion becomes matter.

For the first time, the symbols of my trance-state emerge in three dimensions. They rise from the canvas as physical forms, breaking the flat surface that tradition expects and asserting their own space.

These symbols do not lie obediently on the picture plane — they demand presence. They embody a truth that refuses suppression.

Each work begins with a black surface — a deliberate reference to the unknown, to the place where inherited conditioning no longer dictates form.

From this foundation, the gold elements emerge. They are not decorative accents, but a way to mark the moment in which a more authentic identity becomes visible.

In this series, gold functions as a symbol of sovereignty: what appears when a person steps outside imposed narratives and chooses their own direction.

Son of Lilith traces a movement from rupture to emergence.

The canvas becomes a field where the inherited mask fractures, where spiritual matter incarnates, and where the first woman’s act of defiance echoes into the present.