The Enlightened takes as its starting point a millennia-old patriarchal construction: the equation of woman with nature, positioning her below man—associated with culture—on the civilizational hierarchy. The work pays tribute to Susan Griffin's Woman and Nature (1978), which traces this construction through the writings of Aristotle, Luther, Rousseau, Hegel, Freud and others—figures of the Western canon whose ideas perpetuated misogyny under the guise of objectivity.

Developed during the DOGO residency in Lichtensteig, a Swiss town in a mountainous landscape, the work finds Griffin's critique echoed in the surrounding environment. The sentences Griffin cites—portraying nature (i.e. woman) as something to cultivate and groom, yet also subjugate—are mirrored in the area's hiking trails. Mechanical interventions like iron rods piercing rock formations or timber beams fastened with iron plates "tame" nature, much like a bra supports yet restrains the female body.

The installation comprises three ceiling-hung iron structures clad in decorative lace—embroidered with butterflies, leaves, and flowers—echoing the nature motifs often prettifying bra designs. Behind the lace veils, monitors display blank white screens where sentences from Griffin's book appear in bold black text: "By knowing the force and action of fire, water, air, the stars, the heavens, and all other bodies, men can be the masters and possessors of nature"; "For as nature has endowed lion with claw and fang [...] she has endowed women with deceit." *

The sentences are typed onto the screens at a rapid pace, visualizing the regurgitation of patriarchy's teachings. Their progression is occasionally interrupted by the artist's own remarks and questions. This conflicted dialogue—between dominant narratives that shape us and internal voices that wish to rebel against them—unfolds in real time, metaphorically unburdening the bra-constrained chest.