The quality of handcraft is valued in my works, as that becomes a valid measure of time — of lived, touched time — of age.
Paper is an inspiring medium, as I imagine that all marks and forms on a paper can poetically and directly refer to the maker’s intention and actions around it. It seems to be the best body of witness — intimate, deliberate, and intuitively comprehensible — even without language.
The sculptures I make act as traces and records of my actions and body, while they also are fostered to embody a spirit, a state, or a being. I ask the works to be able to hold and carry a life by themselves autonomously, without the insert of my personal narratives or explanations. I search within me to create other bodies.
I imagine my art practice as a form of weaving an other constellation, an other sky, that will oversee and overlap the realities we have set foot in. I find myself drawn to the soft layerings and migrations of still-images working towards a loose narration. This porous visual sequencing creates gaps, an essential distance that allows myself the safety of opacity while providing to others a space of curiosity, just like a sheer curtain. I wish to blur borders between realities and the surreals, suggesting not only alternative futures but other-narratived Now and memories.
Yearning to become less dry and sober but more playful and forgetful, I pursue humour and forgiveness as within children. Recovery and renewal of the communal senses and sensitivities is what I work towards, through constant retunement to the world around us. When something has been “sensed”, it is the proof of connection and interchange.
I believe it to be the witnessing of a moment, a being.