ICUL CTION Special Edition ART A C o n t e m p o r a r y A r t R e v i e w Special Issue Jaula is a body installation for the head that has communicated us the sensation of retention: even ofoppression. Through your works you created such uniquevisual vocabularyable to trigger the viewers' imagination, inviting them to elaboratepersonal interpretations: how open would you like your works to be understood? Gergana Elenkova: Let us turn our attention to my work "JAULA" ("CAGE"). This work refers to a cage that encloses the subject's head, as if it were placed in a jail. And as is known, a cage is made of resistant materials and its properties are stability and rigidity. However, my work provides a “hybrid” version of the cage: hard, flexible and foldable at the same time. It is like a symbiosis of a solid matter that changes its physical state from solid to soft.These transformations of the material of the piece are linked to the idea of "hard power" and "soft power" that are interconnected and are often used together. I think that to understand the idea of a work that is not always explicit, like "JAULA", it is necessary to analyze it. This act marks the beginning of performance: a purposeful interpretative process that activates imagination, building associative relationships in the viewers head. The experience of the author, recorded in the work is complemented by the experience of the viewer interpreting it. Thus, the possibilities of new communicative connections between the creative conscience (respectively the work) and the viewer form natural feedback. This type of feedback, generated by the experience of the viewer, in turn creates new reading of the works, thus enriching their meaning. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluatethe conceptual language behind the mechanism of art making itself: how do you