Stuck Inside, video, 2025
Stuck Inside, video sculpture, 32x40x72 cm, 2026
I wanted to feel how a lack of air would physically affect my body. So I built a transparent, flexible chamber, entered it, and drew the air out. My interest in breathing and its limits also comes from my work as a researcher in the field of chronic respiratory diseases—a place where air stops being transparent and becomes something that is measured, and where its absence is felt immediately. From this emerged a body of work that repeatedly examines the tension between the body and what holds its form: the shell, which sometimes remains even after the body is no longer there. The works move between two actions: addition and testimony. On the one hand, I add material in order to construct empty volumes—forms that hold air, pressure, and traces of a body. On the other hand, there are actions that leave evidence behind: marks of movement, collapse, contact, or an action that took place in the space. Within the exhibition, it was important to me that the space itself would no longer simply surround the works, but take part in them.
Leaning Mass, installation, 600x120x120 cm, 2025
It felt right to be placed above, in the dead space between ceiling and sky—a narrow interval between weight and suspension, like a breath held in the air. Between two lungs, a space opened that no one had seen before: a volume of transparent material, a place with no sculpture in it, only traces of air, time, and iron dust.
Mass Above the Door, installation, 360x120x100 cm, 2025
What remains after the empties, again and again, until only the air it once held is left? I work with volumes that carry absence—some filled with air, others defined by its lack. Some trap breath inside; others let it drift, come and go freely. At the heart of the work lies a question: What is the minimum number of layers needed to hold emptiness— so that, in the same breath, it is both contained and collapsing?
Hosting Absence, video, 5:19 min, 2022
Birds arrive on the rooftop of my home, and people arrive at the gallery. Both spaces become sites of temporary presence, where bodies enter, remain for a moment, and disappear. The work begins with my attempt to create a condition for encounter, while acknowledging that I cannot determine who will arrive, what will happen, or what will remain. The surface carries traces of bodies that are no longer there. It becomes evidence of contact and disappearance—an attempt to hold an encounter after the bodies have already left.