I’ll tell you later cause I don’t want to jinx it
Silk screen prints on a six meter long velvet fabric, 2021
I’ll tell you later cause I don’t want to jinx it consists of a very long black velvet fabric with printed images that hex any patriarchal figure who looks at them. Illustrations about myths that trick and resist totalitarianism, create an invisible portal to another world, while written parts on the fabric represent the language that is being spoken in this world. The ending of the piece itself doesn’t exist as it doesn’t address any space or place, but brings together concerns with gender, validation patterns and patriarchal societies, in particular offering a portable critique of education systems.
Soul Death in a Digital App
paint on the wall and ceramics, dimensions variable, 2021
An installation exploring different kinds of elliptical architectural suggestions and mystical procedures of alternation as they relate to oppressive institutional structures. Red gestural brushstrokes almost like injuries, and fragmented ceramic pieces overlap in order to form a portable temple, which is activated through a performative reading of a script. The whole piece aims to explore how in archaeological attempts to reconstruct what has been lost , there is a neglect to see how important the dismissal of myth and its unifying explanations may be. At the same time it highlights the importance of the world of chances and signs, and magical practices as coping mechanisms.
The Temple of No Solutions
paint on the wall and ceramics, dimensions variable, 2021
‘I hate power, except the power I have to show you something’. Mayer B., 2011. Studying Hunger Journals. Station Hill Press
The Temple of no Solutions constitutes a refusal to comply with the demand “to successfully embody the past”, and instead is pointing to ways of using traditional texts as “templates”, yet “mishandle narratives”, displacing them from the pantheon of national cult into the spheres of “folk tradition”. By emphasizing the “flat” and “stiff” character folk imagery may have, the intimacy of being “among and with” images experienced when I paint them on ceramic plates. A wild field of female characters is moving within the temple, getting blocked, but moving nonetheless, speaking, and
using magic tools/painted tiles to signal where they stand, and how they relate.
Refusing to promise salvation, I nonetheless point to the powers of exorcism potentially residing in the act of making my work, as a way to spell things out, to ‘let them go’.
A Dream To The Wave
drawing on 100x80cm papers, ceramics and candles, dimensions variable, 2020
Drawing resembles a ritual or an attempt to transform with magic. I never paint from memory or recollection but from nature. The scenery is derived from Papadiamant’s prose A dream to the wave, a text I first encountered when I was in my last class of high school, bound to analyse and decipher its hidden meaning. In the drawings, I drag the characters into mystical procedures to perform exorcisms and liberate themselves. I mixed mass and high culture into this ‘potion’, to overcome such boundaries, see these demarcations collapse, and build alternative interpretations and worlds from their ruins.
