Selected works from Ács Kinga-Noémi’s spatial installation DOMINO EFFECT and the series Women’s Fates Broken on the Wheel: Unwritten Wheel of Fate II examine deeply embedded social patterns surrounding femininity. The central question of the works is how expectations attached to gender roles become invisible yet decisive forces shaping individual destinies.
The DOMINO EFFECT installation visualizes the chain-reaction-like operation of internalized role expectations: patterns fixed from childhood onward continuously reproduce themselves through interconnected structures that appear stable, yet are inherently fragile. Women’s Fates Broken on the Wheel: Unwritten Wheel of Fate II focuses on the consequences of these systems. Through the motifs of the wheel of fortune and female archetypes, the series explores how stigmatization becomes especially powerful when a woman deviates from normative role models. The unwritten wheel of fate emphasizes the possibility of self-determination, consciously rejecting the idea of determinism.
The materiality of the two series — resin, plexiglass, and mirrored plexiglass — refers to the artificially maintained and “preserved” nature of social conditioning. The long-lasting, toxic materials and reflective surfaces function as metaphors for visible and invisible forms of stigmatization, as well as the compulsion toward self-reflection.

Liz Miller Kovacs’s long-term photographic project SUPERNATURAL examines landscapes of the Anthropocene from the perspective of a future observer. The series documents territories shaped by extraction and human presence — abandoned mines and industrial landscapes where nature is slowly reclaiming control. These liminal spaces simultaneously bear traces of human activity and ecological wounds, pointing to the long-term consequences of present-day decisions.
In Liz’s work, the landscape appears through a female perspective: the artist places her own body within these environments, wrapped in textiles, emphasizing the contrast between bodily vulnerability and environmental brutality. The female figures simultaneously evoke historical archetypes of objectification and traditional notions of feminine mysticism often mediated through the male gaze. In this interpretation, the exploitation of nature and the objectification of the female body emerge as parallel systems.

Together, the works of the two artists create an interpretive space in which social and ecological patterns overlap. Ács Kinga-Noémi investigates the mechanisms and consequences of structures tied to gender roles, while Liz Miller Kovacs’s photographs reveal the environmental and cultural imprints of these systems. Their shared question is: what traces do we leave behind — in one another, in the landscape, and in the future narratives that will one day be told about us?