The series references the chapters of "Andrei Rublev": The Flyer, The Last Judgment, The Bell. The film is vital to my practice as an example of rupturing the habitual logic of reality through a threshold effort: the Flyer’s leap, Rublev overriding his muteness, and the faith of the boy casting the bell.

I am interested in the moment "before": the second prior to stepping beyond the boundaries of the norm. At this point, awaiting a miracle becomes more significant than its execution. "Disobedience" here manifests as a prolonged moment suspended between the everyday and the Event.

I continue my inquiry into the limits of human effort through the experience of motherhood. I rhyme the threshold effort of the boy casting the bell in Tarkovsky's Rublev with the threshold effort of a woman giving birth to a child despite the terror of an anomaly.

The series includes the autobiographical work "Delivery Room," where the obsessive scrutiny of the infant's face becomes a site of radical acceptance, a point of disobedience, and a departure from the limits of the norm, rules, and logic. In the three works from the "Screening" series, i document the obscured, deformed faces of infants, granting them the right to exist and to exist beyond expectations.

* screening: a medical examination aimed at detecting fetal pathologies. The screening functions as an apparatus of control, blind to human vulnerability and seeking only a rupture in the algorithm.

Disobedience, the refusal to fit into habitual logic and normativity, and a calm, quiet scrutiny of the approaching miracle on the verge of catastrophe, becomes a survival strategy.