Isolated and unwanted by the Gods, Styx cannot be approached by anyone. With a source that is endless and inaccessible, she stands as the oldest river separating the world of the living and the dead. No one can come near her except the sun, nor can they drink from her destructive and deadly streams. No vessel can contain her water that poisons everything alive, it melts steel and breaks rocks. The waters of Styx are a source of both immortality and death. As the river runs through the gorge between rocks it gets lost deep inside the earth, flowing into Hades to irrigate its dark kingdom.

Relating tradition and mythology, a concrete cube is split in half forming two interlocking pieces. East and west sides are separated by a border in the form of a crevice. Inside the rock, the landscape of my hometown is formed, mirrored by the Black Sea. Form connects the rock-carved royal necropolis of Amasya in Turkey and the mountains of Greece that surround my city. The two opposed surfaces are coated with ashes and my blood respectively, alluding to incidents of the genocide such as the exploitation in the mines of Turkey, the Great Fire of Smyrna and the concurrent massacres. By splitting the cube, a border in the form of crack interferes between the two mirrored places, exposing what has been cut: the link with tradition, country and culture. Rotating and flipping the landscapes inside, a degree of disorientation is introduced similar to the emotional effect experienced by expatriation. Shattered human bodies and lost lives. The world split and turned upside down.