KNOCK THREE TIMES (2025-ongoing)
The project explores the everyday rituals of superstition that continue to shape our behavior, even in a rational and modern world. Superstitions often appear in moments of fear and uncertainty — something that deeply resonated with me, especially as my home country, Ukraine, has been living through such a state since 2022. These gestures, both protective and fragile, reveal how cultural memory and magical thinking remain embedded in daily life.
The photographs in the project shift between two modes:
The photographs in the project shift between two modes:
on one hand, staged “instructional” images that highlight the surreality and almost absurd precision of superstitious actions; on the other, more atmospheric and poetic images that convey the magical aura surrounding these beliefs. Together, they transform superstition into a visual language that oscillates between documentation and imagination. By revisiting these practices, Knock Three Times questions how people navigate uncertainty, how they inherit traditions, and how rituals offer both comfort and a sense of agency.
VIDEO-PERFORMANCE
A key part of Knock Three Times is a video work dealing with one of the most iconic superstitions: breaking a mirror. Initially, I planned to smash the mirror as a metaphor for breaking with old patterns and beliefs. But in the process I realized I could not bring myself to do it — the fear remained. The final video shows repeated attempts to break the mirror, yet hesitation prevails.
In the exhibition, the video is paired with a real mirror and a hammer placed beside it. Visitors are invited to decide whether to break the mirror themselves. This gesture shifts the act from artist to audience, turning the work into an interactive reflection on ritual, fear, and the difficulty of letting go.
PRINTED MATERIALS
To extend the exhibition experience, I created a fold-out poster as a catalog. While the photographs deliberately omit explanatory text, the poster provided background on the superstitions depicted, especially for viewers unfamiliar with the post-Soviet context. Functioning almost like a map or guide, it allowed visitors to navigate between the images on the wall and the stories behind them, deepening both content and form.
In addition, I developed a small survey with questions about superstition, inviting viewers to reflect on their own beliefs and experiences. This interactive element created a dialogue between the work and the audience, making the theme of superstition tangible not only visually and acoustically but also through personal reflection.
