One research · multiple forms
Six recurrent operations rather than fixed categories.
I am interested in the moment when something almost imperceptible becomes visible.
Many of my works begin with changes that are too small, too slow or too dispersed to be noticed immediately. What matters is staying with them long enough for a difference to appear.
Measurement gives me a way into a system, but never the whole of it.
Counting, separating, mapping or quantifying creates a structure from which to look. I am especially interested in the point where that structure becomes insufficient and experience exceeds it.
What interests me most is when time stops behaving linearly.
Different moments can coexist, return or fold into one another. Some works begin years before they are shown; others continue changing afterwards. I am particularly drawn to those instants when time seems to slow down, freeze or suspend itself.
Things become more interesting to me when I look at the relations that hold them together.
A piano, a river basin, a garden or a studio only exists through dependencies, flows and exchanges. Opening those systems up allows other structures, tensions and forms of connection to become visible.
Documentation is often already part of the work before I realise it.
Lists, maps, labels, photographs, books and inventories do not simply record a process; they alter it, give it another duration and sometimes become new objects in their own right.
Many materials enter the work after having had another life.
I often work with found objects, studio remnants, materials from the street or fragments of previous projects. I am interested in the traces they retain from their earlier use, and in how they enter a new structure without completely losing what they once were.