在 Universale这件作品中我涉及了纯粹的雕塑问题，如形式、综合性、空间性，以及寻找文化起源的人类学探索、第一次对人类和上帝的描绘。另外，通过象征、材料和技术，我还涉及了当代文化的问题。 Universale的灵感来自纸张，在他的清晰的表面中，包含着三维空间，这对普通接收者来说并不明显。在不知不觉中，一张纸曾经是并且仍然是所有重要思想和我们共同历史的媒介。

对称性是现实的基本特征之一。我在一张对折的纸上发现了我们研究的对象——人体、图像，它严格依赖于对称规则。通过不同长度和角度的线条布局、不同比例的表面、正负形式的组合，这件作品反映了它与人类形象的密切关系。

In Universale I touch upon both purely sculptural issues, like the form, its synthesis or spatiality, as well as anthropological explorations reaching the beginnings of culture, first depictions of humans and God or writing. I also touch upon issues of contemporary culture – symbolic and material as well as its technological aspect. Universale comes from sheets of paper. From a clear surface that in itself possesses a 3rd dimension, that is not obvious to the average recipient. In an unconscious way, a sheet of paper was and still is a medium of all important ideas, our common history. Symmetry is one of the basic features of reality. It is then not surprising that in a half folded sheet of paper I've discovered the object of our studies – the human body, the image, that is tightly dependent on the rules of symmetry. Instead, through the layout of lines with different lengths and angles, surfaces with different proportions, negative and positive forms, finds its relation to the image of the human.