Omara's relationship to art and its role in society is an inspiration for me. What she expresses through her own trauma stories can be interpreted as a depiction of the social situation of the Gypsy community in Hungary and of being a woman in Eastern Europe. Talking to other Gypsy women, I’ve noticed that at certain times and in certain situations in our lives, there are sentences that we all hear in our everyday lives, sometimes with the exact same wording. Words told us by teachers, doctors, classmates, or by random people in the street. I started to collect these judgemental sentences in my masterwork titled ‘you’re not like that.’ In addition to the collection of stereotypes, I took photos of my parents and the women in my family who had the greatest impact on my image of being a Gypsy and being a woman. The images in the series are connected by the sense that the Gypsy layer of my identity is magnified from the moment I leave my parents' house. For a long time I was confused about which of my qualities, apart from physical ones, could be called ‘typically gypsy’. Even before I could decide for myself what part of my identity I want to experience, when and how, others are already contextualising my Gypsiness on the basis of external attributes and racial characteristics. For me, being a Gypsy is not only an ethnicity but a perspective through which I view the world. As I have become more engaged with this condition over the years, I have come to realise that identity has multiple layers. In my work, I present my own stories visually, but they can also be interpreted as reflections on being a Gypsy woman.