Aligned with the fundamental fragility of any social, fabricated or organic system(2), I turn to provisional materials in arranging a shape-shifting, often brittle body of work, where continuous fragmentation and cohesion constitute both the conceptual and the material foundation of the practice.
Throughout the repetition of this process, nuance and error are cherished as symptoms of the awkward yet inescapable limits of “the body” - (flesh, wood, paper, clay..).

Meanwhile, questions regarding “work”, efficiency, and success roam my mind alongside this dainty nesting action.

(1) As thinking and doing run on different channels and at a different pace - the geometry of circumstance withholds its ungraspable formula: it is founded on contradiction.
(2) Systems and devices are designed to simplify our daily endeavours and compensate for the imperfections that are inscribed within our nature - Time, however, is growing increasingly saturated - puzzled up by the wild operating force of organisms and algorithms together, where each effect is linked to its cause in obvious, yet uncontrollable ways.
In this engineered context, I tentatively look for ways to deal with the excess of information that I'm compelled consume - as if I were myself a machine - but I simultaneously anticipate glitching moments as the manifestation of humanity and a trigger for empathy.

Through my practice, I don’t hope to deliver ‘complete’ portraits of experience, as that regularly turns out to be impossible, but rather keep an approximate log of the clumsy dialogue between (my) ‘inside’ and ‘outside’. I’m interested in the feeble perimeter separating these two dimensions.
Date and time often appear in the work, as well as sketches of space and reproduced objects.
Gathering and reproducing daily encounters in the form of notes, objects, links, images, texts.. - is an attempt to record and participate in a world that is teeming.