I started taking photographs at the age of 13. At first, only objects, no people. I believed that a person in the picture would ruin the entire composition, so those photos ended up in the trash. At 15, I had my first solo exhibition. The theme was form, color, and light. At 22, after my first experiences as a press photographer, I began photographing only people. A picture without people was now uninteresting. By the age of 28, I had already shown over 40 solo exhibitions in various European countries, and the main subject was always people. Then, after 15 years of photography, I felt that two-dimensional expression was no longer sufficient, and I wanted to explore the third dimension. That’s how I began my adventure in sculpture and design. … After three years of sculpting, I realized that static forms weren’t enough to express myself, and I sought to integrate dynamism into my sculptures. This is how I discovered time as the fourth dimension of my work. For a short time, I experimented with performance art and happenings in front of an audience; however, I quickly found it unsatisfying. At the same time, I discovered that I enjoyed activating the “audience”—that is, involving other people in the artistic creative process. My new idea was to find out how to transform “passive spectators” into “active participants.” My then three-year-old son, Aleksander, helped me make an important discovery. One sunny afternoon, he discovered my new two-meter-high wooden sculpture in the shape of a double helix in our garden. Clearly fascinated by this form, he began to climb it. My first reaction was horror: would he destroy my artwork or hurt himself? But that’s how the idea for “playsculptures” was born. After this experience, a new period began in my work – I added practical functions to my artworks so that they could be actively used by people of all ages. This creates a magical transformation from passive observer to active participant. The old art paradigm “please do not touch – only look” transforms into the new “please touch and explore with all your senses.” This is how the fifth dimension in my work emerged: “the social aspect.” People discover their dormant creativity, and my artworks are only truly complete through this interaction – the social sculptures.