Original handmade surreal collage

We Are Here To explores the relationship between individual identity, social judgement and the overwhelming presence of the modern metropolis.

Within a densely layered urban landscape, human figures occupy radically different scales, challenging the conventional relationship between the individual and the surrounding environment. A large monochromatic woman stands apart from the colourful crowds below, her imposing presence suggesting the weight of social judgement and the power of those who observe others from a distance.

A child appears to dive into the city from above, suspended between freedom and uncertainty, while an oversized man moves across the architecture in an unstable, almost weightless gesture. Their movements suggest different ways of confronting an urban world that seems simultaneously full of possibilities and difficult to navigate.

Above the scene, a monumental face evokes the presence of an all-seeing observer, recalling the idea of Big Brother and the invisible structures of surveillance and control. Behind the figures, lists of names, cities and publications introduce another layer of collective identity, where individuals become part of an immense network of information.

Through these contrasting elements, We Are Here To questions what it means to exist within a society that constantly watches, categorises and judges. The unfinished title becomes an open-ended question, inviting the viewer to consider not only where we belong, but what we are here to do.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Who Do You Think I Am? explores the tension between personal identity, social conformity and the psychological cost of living behind a constructed appearance.

At the centre of the composition stands an elegantly dressed, faceless figure whose head has been replaced by a fishbowl. The polished exterior suggests an individual who appears to conform to society’s expectations, while the transparent vessel exposes a radically different internal reality.

Inside the bowl, empty medication blister packs surround two female figures. One sits above the water in visible despair, while the other remains submerged, almost lifeless. Together, they evoke different manifestations of psychological suffering, transforming the absent head into a fragile space of emotional conflict.

A futuristic metropolis rises in the background, accompanied by an oversized cockroach suggesting the corruption concealed beneath the city’s technological progress. A barcode introduces the idea of standardisation, reducing individuality to something classified, labelled and interchangeable.

The phrases “Who do you think I am?” and “You can’t fake” challenge the distance between public identity and private experience, questioning how much of ourselves can remain hidden behind the masks we construct.

Through these contrasting elements, the work confronts the pressure to appear socially acceptable while concealing emotional distress. The figure becomes a symbol of the contradiction between external perfection and internal vulnerability, raising a fundamental question: who are we when the identities we perform no longer reflect what we feel?

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Original handmade surreal collage

Do You Go the Extra Mile? explores resilience, perseverance and the determination to continue moving forward despite adversity and external judgement.

At the centre of the composition, a woman’s face has been erased, replacing individual identity with an intricate network of lines resembling roads and pathways. Her body becomes a symbolic landscape, suggesting that identity is shaped not only by who we are, but also by the journeys we undertake and the obstacles we encounter along the way.

Within this figure, three young girls represent different manifestations of the same individual. Battling against powerful winds and arrows directed towards them, they continue advancing beneath a black umbrella, which becomes both a fragile shelter and a symbol of resistance. Their collective movement transforms vulnerability into determination, suggesting that perseverance does not require the absence of fear.

On either side, two formally dressed figures observe the scene with an air of judgement, representing the external expectations and scrutiny that accompany personal struggles.

Behind them, a swirling background of warm, vibrant colours introduces a striking contrast between the turbulence of the journey and the possibility of hope. The spiral becomes a visual expression of movement, uncertainty and transformation.

Through these opposing forces, Do You Go the Extra Mile? questions what it means to persist when the world seems determined to hold us back. The work celebrates the courage of continuing, even when progress is difficult, protection is imperfect and the destination remains unknown.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Ana Liberation explores the psychological imprisonment of anorexia nervosa, revealing the conflict between the desire for freedom and the powerful hold of an illness that transforms suffering into an obsessive pursuit of control.

At the centre of the composition, a woman’s hair is replaced by an accumulation of ice cream scoops, turning food into an overwhelming mental presence. Above her, the word “Liberation” is crossed out, exposing the contradiction at the heart of the work: the longing to escape a condition that simultaneously resists being abandoned.

Fragments of language surround the figure, expressing pain, desperation, uncertainty and intrusive thoughts. The question “Are you happy here with me?” becomes particularly disturbing when understood as the illness addressing the person it controls, suggesting an intimate and destructive relationship in which suffering and attachment become entangled.

To the left, a skeleton represents the distorted body ideal imposed by anorexia, accompanied by the desperate appeal “If you could help me”. The words reveal the painful division between recognising the need for help and feeling unable to accept liberation.

In the foreground, a young ballerina gazes towards the word “Skinny”, embodying the relentless pursuit of an ideal that continually moves beyond reach. Meanwhile, a solitary soldier advances through a sandstorm, transforming the experience of illness into an exhausting struggle against forces that seem impossible to overcome.

Through these contrasting images, Ana Liberation confronts the paradox of an illness that promises control while taking it away. It reveals a mind caught between resistance and surrender, where the desire to recover exists alongside the fear of letting go.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Meet the Girls explores the contradictions of the patriarchal gaze, questioning how femininity is constructed, sexualised and judged through expectations imposed upon women.

At the centre of the composition, a female figure embodies an apparent contradiction. Her carefully styled hair, manicured nails, jewellery and elegant clothing reflect traditional expectations of feminine appearance. Yet her pink hair and unconventional aesthetic challenge the very standards she seems to fulfil. Femininity is neither rejected nor obediently reproduced: it is reclaimed as an expression of individual freedom.

Beneath her, a hierarchy of male figures evokes the structures of power through which women have historically been observed, defined and controlled. A butterfly, accompanied by the question “What do you see?”, becomes a provocative reference to female sexuality, exposing a gaze that reduces an entire person to a sexual object.

Images of ice cream introduce desire, while fragments of written language suggest suspicion, judgement and blame. The woman becomes simultaneously an object of attraction and a target of condemnation, caught within a system that demands desirability while attempting to regulate its expression.

The title Meet the Girls carries a deliberate irony. Rather than introducing women as they truly are, the work presents the distorted image produced by a patriarchal imagination: a construction shaped by desire, stereotypes and the expectation of conformity.

Ultimately, Meet the Girls challenges the authority of those who claim the right to define femininity. It asks a question that extends beyond appearance or sexuality: who gave you the right to decide what a woman should be?

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Digital Escort explores the distance between sexual liberation and the persistence of sexual stigma, questioning whether society’s attitudes towards female sexuality have evolved as profoundly as the world around us.

At the centre of the composition, a woman with a human body and a digital face embodies the transformation of sexuality in the technological age. Her oversized red heels evoke the stereotypes traditionally associated with sex work, while coins falling from the sky introduce the relationship between desire, money and the commodification of the body.

Against a backdrop of urban buildings, a man dressed in historical clothing represents a mentality rooted in the past. A line connects him to the digital woman, bridging centuries of apparent progress while suggesting that certain attitudes have remained remarkably unchanged.

The dark sky introduces a sense of unease, reflecting the inequalities of power that can exist beneath apparently consensual transactions. The work does not condemn sex work as an individual choice, nor deny women’s autonomy. At its heart lies a fundamental contradiction: a woman may have reclaimed her sexuality, rejected shame and chosen how to express her freedom, while the society surrounding her continues to judge her through outdated moral standards. Sexual liberation does not automatically erase sexual stigma.

The unfinished phrase “So that when you get there” evokes a journey towards progress, leaving its destination unresolved.

Ultimately, Digital Escort asks whether the male gaze has evolved alongside women’s emancipation. A woman may have stopped feeling ashamed of her sexuality, but has society stopped trying to make her feel ashamed?

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

We Used to Be Hungry explores the gradual disappearance of passion within a long-term relationship, where the memory of desire survives even when the ability to experience it together seems to have faded.

The upper section portrays two people who still share a life but appear to inhabit separate worlds. Divided by contrasting visual styles and colours, the woman cooks alone, her expression marked by sadness, while her partner eats with an almost emotionless detachment. Even the simple act of sharing a meal has disappeared, replaced by the mechanical gestures of an exhausted domestic routine.

Yet both figures are looking towards the same plate, where their shared past takes shape. Inside the bowl, surrounded by noodles, cutlery and playful sexual symbolism, their younger selves lie intertwined, holding hands. Their bodies recall a time when intimacy, physical attraction and the hunger for one another were an essential part of their relationship.

The two keys introduce a provocative layer of sexual wordplay, while the plate itself becomes a meeting point between memory and reality. Food, once associated with pleasure and appetite, now belongs to an ordinary routine. The desire that once brought them together has become something they can remember but no longer seem able to experience.

Their different expressions reveal two responses to the same loss: her visible sorrow and his emotional emptiness. Neither has forgotten what they once shared.

The title We Used to Be Hungry carries both irony and melancholy. It evokes two people who remember the passion that once united them, even as they struggle to find it in the lives they now share.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Bad Inside explores the psychological contradictions of addiction, where suffering, desire, pleasure and dependency become entangled in a cycle that promises relief while perpetuating the very pain it seeks to escape.

At the centre of the composition, a young woman embraces a golden plate filled with drugs. The precious, almost luxurious appearance of the plate contrasts with its potentially destructive contents, symbolising how something harmful can become deeply desirable. Her embrace suggests more than attraction: it reveals an emotional and psychological need.

The same woman appears again, dancing above a surface scattered with substances. These two figures represent different aspects of the same dependency: the desperate search for relief and the temporary euphoria that makes the promise of escape feel real.

Around them, the entire world has been turned upside down. Buildings, cars and people appear inverted, transforming an ordinary urban landscape into a disorienting reality where balance and stability have disappeared.

The phrase “CALM is on your side” introduces a deliberate contradiction. Addiction can offer the illusion of calming an inner demon, while actually feeding the suffering that gives it power. What promises relief can become the very thing that keeps the suffering alive.

Meanwhile, a sign reading “THIS WAY OUT” suggests the possibility of escape, raising a difficult question: does being able to see a way out mean being able to take it?

Bad Inside does not portray addiction as a moral failure or the person experiencing it as weak. Instead, it examines the fragile boundary between pleasure and suffering, freedom and captivity, revealing how the search for peace can become a cycle of dependency.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Drugs in the City explores the relationship between urban life, substance use and the struggle to survive within the overwhelming rhythms of a modern metropolis.

Constructed as a three-dimensional cityscape from an opened box, the artwork transforms its surface into an urban environment. A horizontal floor covered with images of nature supports a vertical skyline of buildings darkened with black wax crayons. The contrast between the natural world and the oppressive architecture suggests a city that has grown increasingly distant from the environment beneath it.

Above the buildings, a vast swarm of insects moves across the composition. Representing the city’s inhabitants, these figures evoke the collective scale of substance use within metropolitan life. Behind this movement lies a multitude of individual experiences: pressure, loneliness, exhaustion, personal difficulties and the search for relief.

An enormous beast dominates one side of the city. Its presence carries a double meaning: the metropolis itself, with the demands and difficulties of everyday survival, and the drugs that some people turn to in order to endure those pressures. What initially appears to offer an escape from one beast can gradually become another.

Images of mouths filled with colourful pills, drinking glasses and other references to substances suggest the many forms that drug consumption can take. Along the side of the composition, circular shapes represent successive suns, marking the passage of days as the city continues its relentless cycle.

Drugs in the City does not reduce substance use to a moral judgement or a single explanation. Instead, it examines the complex relationship between urban pressure, human vulnerability and the search for ways to cope.

The city becomes a beast to survive, while what promises to make survival easier may become another beast entirely.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade three-dimensional surreal collage

What if the creatures of mythology evolved alongside our cities?

Metropolitan Mermaid is a surreal representation of a transformation already taking place: as our cities become increasingly technological, so do we.

The artwork brings together different realities, eras and visual languages. A hand-drawn black-and-white cityscape forms the background, while a photograph of a real Asian metropolis emerges from the surface. An old-fashioned bus, a classical sculpture, an animal and fragments of urban life coexist in a layered, three-dimensional composition.

These contrasting elements reflect the evolution of our cities, where the past never completely disappears but becomes part of an ever-changing present.

At the centre stands a smiling young mermaid, casually enjoying an ice cream. Traditionally, a mermaid belongs to the natural world, her human body connected to the ocean through a fish’s tail. Here, that natural half has been replaced by a technological, mechanical form.

She is no longer half human and half fish, but half human and half technology.

Her youth is essential to the story. She represents a generation born into a world where technology is already an inseparable part of everyday life. What might seem extraordinary to older generations is simply normal to her. She smiles, eats her ice cream and carries on, completely comfortable with what she has become.

This is not a vision of a distant future. It is a surreal interpretation of our present.

As we transform the world around us, we are transforming ourselves into creatures of the world we have created.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

Centuries pass, the world changes, but some things remain disturbingly familiar.

Just Your Average Girl uses humour, surrealism and exaggerated proportions to explore the persistence of female objectification throughout history.

The composition brings together three completely different environments: a lush tropical greenhouse, a colourful Californian-style swimming pool and a desert filled with towering cacti. These contrasting landscapes overlap in an irregular arrangement, creating an impossible world where different places, climates and realities coexist.

Oversized flowers and butterflies add another layer of playful distortion, while the bright colours create an almost idyllic atmosphere.

But beneath this cheerful setting lies a familiar story.

An elegantly dressed woman from another century sits calmly in the desert landscape. Nearby, a grotesque cartoon-like man, with a snake-like tongue hanging from his mouth, embodies the sleazy, predatory gaze that reduces women to objects of sexual desire.

The butterflies surrounding the woman reinforce the contrast between her beauty and the way she is perceived, as though her entire existence were being reduced to something decorative and desirable.

The historical figure makes the woman timeless. Despite centuries of social change, certain attitudes towards women remain recognisable.

The title Just Your Average Girl is deliberately ironic. What should be extraordinary has become so familiar that it is treated as ordinary.

Rather than presenting this reality through darkness or sadness, the artwork uses vibrant colours, absurdity and humour to expose the ridiculousness of a behaviour that society has too often normalised.

Everything changes around her. Except the way some men choose to see her.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

What happens when choosing a different way of life means turning your entire world upside down?

From the Ends of the Earth explores the lives of people who choose to step away from modern society, leaving behind the constant demands of technology, urban living and the pressure to conform.

Two figures travel through the sky in the most unlikely vehicles: a woman inside a vintage bathtub and a man in a cooking pan, accompanied by a bright red lobster. Both look directly at the viewer, as though their extraordinary journey were the most natural thing in the world.

Behind them, a landscape has been turned upside down. Trees, bushes and vegetation appear to grow from their heads, visually connecting the characters to the natural world they have chosen to embrace. Even the sun has been replaced by half a beetroot, transforming an ordinary vegetable into part of this unconventional universe.

Every familiar object has been given an unexpected purpose, reflecting the freedom to question established rules and imagine alternative ways of living.

The two travellers represent people who have chosen to live off-grid, away from the increasingly technological, fast-paced and urbanised world. Their journey takes them beyond geographical boundaries, towards the edges of what contemporary society considers normal.

The title carries a deliberate double meaning. These characters are not simply travelling from distant corners of the planet. Their choices place them at the symbolic extremes of modern society.

They haven’t reached the ends of the Earth. They’ve reached the edges of what society considers normal.

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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Original handmade surreal collage

What happens when you create without giving yourself time to think?

The idea behind RED came after attending a collage workshop, where I discovered an artist whose work explored spontaneous, instinctive creation. It made me curious. I wanted to try something completely different from my usual approach: creating a collage without planning its composition, choosing a subject or deciding what story I wanted to tell.

So I gave myself one simple rule: don’t stop to think.

I picked up images, cut them out, placed them wherever instinct suggested, scribbled over faces, covered details and added colour. One action followed another, quickly, without stopping to question whether the elements belonged together or what they might mean.

There was no time to reconsider, rearrange or search for the perfect combination. Just the freedom to act, experiment and see what emerged.

The experience was unexpectedly liberating. Instead of trying to communicate a specific idea, I allowed something to take shape without knowing where it was going. Perhaps I was expressing something I hadn’t consciously put into words. Perhaps not. And that’s part of what makes this experiment interesting.

Because the experiment doesn’t end with the finished collage. It continues with the person looking at it.

I know how RED was created, but I don’t want to tell you what you’re supposed to see.

What do you see?

Every image has been individually selected, hand-cut and assembled into an original, one-of-a-kind surreal artwork.

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