Gold is the first work in the Living Metal series. In this piece, the image of the Akhal-Teke horse appears as the most stable, dense, and whole state of living metal.

Unlike the more fluid and unstable states of the series, gold is presented here as a form with weight, value, and inner stability. Although the composition contains shifts, reflections, and echoes of movement, the central figure remains gathered and materially present. It is not an image that disappears or dissolves, but one that holds itself.

For me, gold is connected not only with radiance, but also with the idea of recognized value. A precious object does not fully exist outside the gaze of the one who values it. It needs space, attention, surrounding, and contrast — almost a form of ritual recognition. For this reason, the composition is not built as a single isolated portrait, but as a system of relationships around the main golden form.

The pink-violet head on the left functions as an entry point into the composition — a trace of previous movement, a secondary horse, or an echo of form from which the central image emerges. It is simpler in colour and execution, lighter and less materially defined. Through this contrast, the golden horse gains greater plastic strength: its density, luminosity, and breed-specific expressiveness become more pronounced.

In this work, it was important for me to preserve the balance between crystallization and wholeness. The form may fragment, light may transform into geometric planes, and movement may leave echoes behind, but the central image does not fall apart. It remains the stable core of the composition — a living nugget, where natural force, anatomy, and light merge into one state.