Starting from my earliest artist research, I have been focusing on absences and gaps — something that is lost partially or completely. In these voids, I discover plots that only seem inconspicuous and events which are preserved in conditional outlines. Evidence is erased or relegated to the periphery of personal and collective memory, witnesses have disappeared or become non-human agents, and the scenes of the incidents has no landmarks. Contours of the circumstances are found in the areas of tangled memories, on physical and mental maps,  in random craters in the meadows and garden beds, in thesauruses of languages and in environmental history, in the routes of natural migrations and forced displacements.

In my projects, I aim to make visible the traces of memory and oblivion, difficult heritage and obscure narratives. The missing and undisclosed are restored through rituals, performance, reenactment, which are documented in installations, photographs, sculpture, book objects, video, sound, or text.

Mimicry is another category that attracts me in the discovery of traces. Nevertheless, mimicry engages me on its own. I’m exploring its potential as a topic, method, and visual language. In my projects, the rituals of memory pretend to be gardening experiments, the reflection on identity disguises as fashion shoots. The obsession with finding meteorites pretends to be a pilgrimage to sacred places, the study of deportation history mimics the form of a textbooks, and artificial migrations of species are transformed into impossible assemblages.

February 2024