Kostianovsky's series, starting with Actus Reus and followed by Nature Made Flesh, employs her father's old clothing to create colorful sculptures resembling tree stumps. These works, marked by bright hues, offer a surreal twist on the theme of death. The sculptures represent both the loss of her father and a critique of human violence against nature. The title Nature Made Flesh alludes to deeper connections between humanity and the environment. Kostianovsky's aim is to assert a physical presence for her deceased father and challenge rampant consumerism.
These meat sculptures, part of an early series entitled Actus Reus, which is Latin for "guilty act," were followed by Nature Made Flesh, a project started by Kostianovsky after the death of her father.
The title Nature Made Flesh is striking in its reference to flesh despite no obvious bodily representation. These trees are wounded-severed at the trunk—but there is no visible human corpse.
Kostianovsky explains, "The project grew out of my desire to give him some type of physical presence in the world beyond the extent of his life."
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