Stabat Mater works form part of a doctoral research. It fundamentally addresses women's position on the axis of the traditional and patriarchal matrix within its back-and-forth cycles of events. It is a series that reexamines the nexus of women and homeland [country]. Although Stabat Mater is widely known as a hymn to the Virgin Mary, she is much more human here - a devoted mother of the profane. Under the charge of different ideologies, she has been identified with the country and the nation. She thus becomes an integral part of its defense - a woman who remains steadfast and is a part of the territory as its final frontier. These works also question the body's confines as the boundaries of oneself, since the shape of bodily matter is subject to change under the weight of arbitrary pressure. The body becomes a general landscape, terra nullius, susceptible to manipulation. However, when we consider land as a home, a slice of one's existence, this project delves into our shattered connection to it. Reviewing and questioning the idea of the home as such is observed through patterns and obsessive dwelling in memory, seemingly familiar, and reflecting on it. If we consider the concept of land a familiar place, in this context, is it something unhomely and eerie? What if a home becomes a place of terror - strange, uncanny, while simultaneously motherly? Even if our specific recollection of this capacity is fragmented, we intend to rebuild it out of pieces, leaving out the harmful ones. The gaps and spaces form grids and patterns, by mapping our space according to the coordinates of junctures in memory. If actions run in cycles, they pull us into repetition - a pendulum of expectations, a vacuum of possibilities. Subsequently, those grids could become norms, confining one in systems not broken effortlessly.