A solo exhibition in which the artist draws on folk tales to interpret women's experiences, memories and the process of transformation in porcelain.

"In the Moonlight She Saw..." is not the first, but the first museum solo exhibition of the artist, a significant event in the professional and creative path of each young author. The artist worked on the project for more than a year, and for two months a magical world will be created in the Riga Porcelain Museum - a kind of porcelain fairy tale. Fantastic plants will grow here and bizarre creatures will hide; fabulous and not so fabulous animals, signs and attributes will appear, whose meanings fluctuate between modern reality and intuitive timeless premonitions.

The impetus for the exhibition was a folk tale, in particular its Italian version, "The Girl Without Arms." Like any fairy tale, there is a dark side. It is a story of trauma, exile and transformation - a metaphor for the artist's personal experience of tragic events in her life. "I return to female archetypes as an ancient code in order to understand my own experience and history through them," says the author.

The archetypal plot becomes the basis of the installation. The viewer finds himself in a magical space: a forest with metal trees and porcelain fruits filled with the seeds of new life. "Through the contact of two different materials, I express the tension associated with bodily memory, vulnerability and the thirst for renewal. Exploring the rich history of porcelain, its connection with power, tradition and taste, I use the fragility and plasticity of the material to speak about bodily vulnerability and female experience," says the artist. A grotesque pair of shoes becomes a symbol of the severity of the path: it is difficult to walk in them. These shoes rub, leave marks, require effort - like growing up, healing and returning to oneself. The installation includes a web and a spider. Like the spider, the artist constructs her own space, her identity in motion - between countries and languages, death and life. "This thread - almost invisible, but strong - connects memory, trauma, a sense of home and the desire for freedom. It retains its shape even when everything around is changing," the artist adds. Porcelain flowers become silent witnesses to the process of transformation. "In my installations, I strive to evoke contemplative participation in the viewer - an internal response in which he becomes a witness and participant in the process of transformation."