ARTIST STATEMENT

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My practice is centred on installation and also extends to painting, collage and drawing. It is rooted in research on material culture, informed by anthropological and sociological perspectives. Textiles have always been part of my installations; today they are taking on growing importance.

Having grown up close to the textile industry, I approach this material not as a craft to be rediscovered, but as an inherited system of production, structured by labour, discipline and repetition.

I am drawn to vernacular gestures, to things made without spectacle, and to the forms of knowledge held in everyday objects and practices. I work with modest or salvaged materials: cardboard, paper, textiles, worn objects. This is not a resistance to progress. The reach of a gesture depends neither on its technological complexity nor on its scale.

My work follows how inner states — attachment, fear, vulnerability — take shape through objects, bodies and domestic spaces. The domestic sphere is not neutral: it is shaped by gendered expectations, invisible labour and inherited behaviours. Objects are not passive there; they actively take part in shaping experiences, identities and memories.

My recent projects put these objects to the test. A chair pads its own legs until it can no longer be used. A dish towel carries a code no one can read. Pillowcases become banners. I watch what happens when care overflows, when language closes access instead of opening it, and what objects pass on in spite of us.

I grew up under a communist regime. It left me with an acute vigilance toward political and feminist issues: toward the way power settles into everyday life, toward what is expected of women without ever being named, toward the fragility of democratic structures. Moving between countries and languages has also shifted the notion of “home”: it is no longer a stable place, but an open question.

Repetition is central to my practice, not only as a formal process but as a form of insistence — a way of holding on, of marking, and of refusing erasure.

 

We hold objects, and objects hold us.