The work The White Protector of the Shadow Casters consists of massive, yet unstable support of vase-like and disc shapes that encapture (or protect) the organic grid architecture. These net- constructions are the remains of the reshaped and burnt-out female fishnet tights, which gave me the opportunity to explore the utmost limits of porcelain as precious (and limited resource) material in its extreme fragility. In the text "The Grid as a Checkpoint of modernity" Margarita Tupitsin begins: "In Western art history the grid has been positioned as an emblem of modernism. In Russia, however, early constructivist artists saw the grid as both a formal and ideological device. After a period dominated by socialist realism, the grid was re-adopted in the 1960s and 1970s by some dissident modernist and conceptualist artists. This essay argues that the grid can still be an effective device in radical art practices as long as it is not perceived as an escapist structure that does not address the topics of today." In its conclusion, the essay explains the shift in apprehension of the grid in postmodernism from " being a structure of an ‘abbreviatory optic’ to being a tool for attaining what the Bauhaus artist Herbert Bayer called ‘the extended vision’. It calls for a constant flux of forms and media, and yet prescribes in order to preserve one’s system of thinking. Postmodern artists were the last to adopt collectively this second function of the grid, the paradigm of art making, now melting, like arctic glaciers, in the global space of political, economic, and social uncertainty." P.S.: Unfortunately I own an old photo camera that can not distinguish 4500 pixel per side and has forgotten to count time.