The beginning of everything is a new exhibition project that continues my research into the ways in which power operates on female bodies, and how visual culture—particularly in the West—has contributed to shaping and limiting our understanding of femininity. Inspired by a visit to St. Mary's Church in Berlin and an encounter with a depiction of Eve and the serpent, this exhibition explores the mythological and iconographic roots of patriarchy: a reflection on the moment when everything began — the stories of guilt, temptation, and punishment that continue to shape our ideas of gender and power to this day.

At the core of the exhibition, Sinister Garden (2025, graphite on paper, 3.5 × 4.5 m) reimagines three historical Eves — by Dürer, Cranach, and Van der Goes — removed from the narrative of the Fall of Men. Enlarged to monumental scale and reflected horizontally, these figures reclaim space and authority, no longer secondary or confined to temptation.

In classical depictions, Eve appears on the right side of the composition (left of Adam), a position loaded with symbolic meaning: the left has historically been associated with sin, danger, and the forbidden. By flipping the figures horizontally, Sinister Garden repositions Eve. This act is not merely formal — it intervenes in the visual and symbolic power embedded in centuries of iconography, questioning the conventions that have historically defined women’s roles in art. The work functions as a counter-stage: a space of coexistence denied to the original images, a territory where the multiple Eves relate to each other without being subordinated to the male presence.

In the original myth, no apple is mentioned, only an undefined fruit. It was artistic tradition that transformed it into an emblem of forbidden desire, dangerous sensuality, and guilt — an iconic image of women’s oppression. The apple(s) here is reduced to a simple graphite circle, emptied of content. Yet our gaze completes the form: we “see” the apple, revealing the enduring power of inherited myths and symbolic language. These images not only shape the imagination but also control it, functioning as instruments of power. It is precisely in this symbolic realm — through images and words — that the oppression of women has historically operated, and it is why it is crucial to resignify these myths and reclaim their meaning.