In The World Beneath Our Steps, Hanna Dujmović constructs a universe in which conventional hierarchies of scale and significance are fundamentally reconsidered. Elements that ordinarily remain at the periphery of perception—a flower, an insect, a blade of grass, a dandelion seed—become the central protagonists of the image. Through a subtle shift in perspective, the artist presents nature not as landscape, but as a space of experience, imagination, and memory. The microcosms she creates appear both familiar and uncanny. Inhabited by human figures, plants, and small living creatures, they operate according to a logic distinct from that of everyday reality. Hierarchies dissolve, while the boundaries between the human and the natural become increasingly permeable. Within this environment, humanity no longer occupies the position of detached observer, but emerges as an integral part of a larger living system. In this sense, Dujmović’s work resonates with Gaston Bachelard’s reflections on imagination as a realm in which the external world and inner experience become inseparable. Nature in these paintings is neither a geographical category nor a faithful representation of reality. Instead, it becomes a psychological and symbolic territory shaped by memory, intuition, and archetypal images that persist beyond time. A defining aspect of the series is its manipulation of scale. Enlarged flowers, monumental blades of grass, and diminutive human presences do not serve to create a fantastical spectacle; rather, they transform the act of seeing itself. The viewer encounters a world that is simultaneously recognizable and newly discovered, as though observing it for the first time from within. It is precisely through this displacement of perspective that the possibility of a different relationship with the surrounding world begins to emerge. Although these paintings may initially evoke the language of fairy tales, they are not concerned with escape from reality. Instead, they suggest that the deepest layers of experience often reside within what is habitually overlooked. The World Beneath Our Steps is therefore not merely a meditation on nature. It is a meditation on attention—a space in which perception slows down and that which has long remained unnoticed gradually regains its presence and significance.