Leunora Salihu’s works pursue classic questions of sculpture, such as the relationship between volume and surrounding space or between sculpture and pedestal. She translates handcrafted elements into serial, modular systems, with which she composes voluminous objects, thereby attaching to them connotations from architecture, furniture, and design. Salihu’s development of familiar forms is often based on human proportions or architectural prototypes of human habitation. As a symbol of temporariness, she uses earth or ordinary materials like clay, cast plaster, or roofing paper for her archetypical models. She describes her work as “a complex structure of industrial, architectural, and organic forms. These patterns articulate potentialities as well as limits of mobility. They draw a connection between organic and constructive elements and their functions, as well as transitions between an object and its base or between inside and outside.” Although Salihu’s works are rudimentary fragments of forms, they simultaneously constitute a space which has its own rhythm. Never hermetic, these dynamic systems outline a network of enclosures and exclusions, addressing the interconnection between object and subject.