BEFORE THE SHARD

The works created Before the Shard belong to a rare phase of incubation an era of luminous instability, where the artist’s instincts raced ahead of her understanding. These transmissions arrived before Shilowska Pretto had fully claimed the identity of The One from the Shard; before the language had emerged. Immaturity is the surface illusion, what pulses underneath is pure acceleration: a current already moving toward what comes next.. Energetically, these quantum imprints carry the vibrancy of a consciousness stretching outward with fierce urgency, testing materials, forms, and structures in search of the entry point. The emotional tone of the era is unmistakable: bold experimentation, sacred play, and a hunger to extract new vocabularies from paint, volume, and gravity. Even the most chaotic compositions bear the weight of sincerity. Visually, this period is marked by the first appearance of the white volumetric figures and black-and-white compositions elements that had lived within the artist’s imagination since youth but had not yet been integrated into form. Techniques were elastic: from car paints and mirror shards to polyurethane, spray, and interference materials. Compared to the precision and restraint of Timeless Majesty, these earlier works feel frenetic, almost volcanic in their expression. Philosophically, Before the Shard represents a transitional consciousness no longer passive to the world, but not yet self-ruled. The artist had begun to sense her dimensional inheritance but was still confronting collapse, doubt, and lack of reflection from the world around her. The power is there raw, emerging but not yet held. Not yet wielded. This body of work is not a prelude. It is a storm before the structure. It is the necessary rupture that allowed the mythic attunement to follow. These imprints are foundational, each one a fragment that would later reassemble into the immaculate order of Timeless Majesty.