The works developed on the island of Sylt mark a distinct shift in Krylova’s practice, introducing a new spatial and material sensitivity.

The landscape of the island operates through contradiction: openness and isolation, freedom and distance. Vast space does not produce calm, but tension — a heightened awareness of one’s own presence within it.

In this period, natural materials such as sand, shells, and organic fragments become integral to the work. They are not used as representation, but as direct carriers of place. The environment is embedded into the surface, making space physically present rather than depicted.

These works function as spatial extensions of internal states — unstable, exposed, and in constant transformation.