I am interested in questioning the circulation, production, and recording of information against a certain certainty of perception.
My work consists of modules of in_complete collections of information and ideas and can be described as situated practice. Therefore, I travel to various places with my feet and with my head.
Modules have many secrets, interpret time, show development arrears! The basis of these modules is the sheets that I name DOCUMENT_DRAWINGS. Together with other fragments of film, audio-recordings, and objects, they often assemble in what I would name „Arrangements of in_possibilities“, as hybrid sites. Records of the interface between art and everyday life. Here I am equally interested in what we name formal and informal knowledge whereas much lies in-between. Stories about how we know the world and how we arrange ourselves in it. References are therefore a very vital moment and are mostly part of the work itself.
The fusion between working, living, and being is inextricable by its nature. It implies for me basically to things – art as idea and art as action – I try to bring both into a conceptual context in a permanent transformation of matter. In doing so the material condition and visual instance are as important as the idea it conveys for the possibility of its (personal and impersonal) consequences.
It leads to the agency of the work itself where conceptual ideas may lead to personal moves and vice versa. Idea is information (lat. informare -in the sense of to give form to the mind) and as such can be very powerful — apart from its fragile material condition and anti-monumental appearance.
The notion of art_work lies for me in its exteriorizing nature and though becomes a manifestation of how we approach our planetary condition, and the entire cosmos as our library.
I approach research also collaboratively and seek to work across disciplines.
I could best say that I approach art-making as a conceptual process, evident in the artist doing, and further lured into an eagerness to research and explore what I could name as a conceptual transformation of realisation of the alteration within that which we call art. While rendering this conceivable transformation as a radiant transfiguration of other areas that art constitutes and by which it is constituted.