I explore navigation within complex systems of forces and power dynamics.
Working across video, sculpture, drawing, and kinetic assemblage, my practice unfolds through what I call "self-sabotaging machines"โfragile, restless systems that resist stability, endure imbalance, and navigate uncertain terrains without ever settling.
Within this research on different modes of movement, I try to find a form of agency in a state of entanglement, turbulence, and frustration.
At the core of this inquiry is the figure of the crocodile, a recurring presence in my work. The crocodile appears as a crawling body negotiating unstable thresholds within and beyond itself. Multiplying and splitting, she resembles a sleeve endlessly stretching without reaching the hand, extending and mutating in an effort to widen the space between struggle and collapse. Through her constant mutations, she embodies a resistance to fixed identity, refusing rigid form or singular meaning.
Underlying these explorations is a deeper engagement with autoimmunity as an existential, psychological, and philosophical dynamic. I approach autoimmunity as a mode of navigation, a mode of being: an endless internal struggle between parts of the same body; a network exhausted by its own excess, resisting collapse by proliferating within the very conditions of collapse. I approach this paradox as a framework for action, in which self-negation becomes a strategy for expansion, and instability emerges as a vital material logic.
In the studio, I construct precarious systems from ceramics, metal, stretch fabric, wheels, paper drawings, mechanics and electronics. These systems, as embodiments of the crocodilian body, are inherently conflicted: ceramic organs crack and shake, fabrics strain, metals bend, wheels stutter under uneven loads, and motors spin at offset angles. I treat these material frictions as generative conditions for sculptural thinking and making.
Grad Show Project: "Overthinking While Executing Minor Actions"
4-hour-long procession, moving from one side of the room to the other.
๐๐ฆ๐ญ๐ง-๐ฏ๐ฆ๐จ๐ข๐ต๐ช๐ฏ๐จ, ๐ด๐ฆ๐ญ๐ง-๐ด๐ข๐ฃ๐ฐ๐ต๐ข๐จ๐ช๐ฏ๐จ ๐ค๐ฉ๐ณ๐ฐ๐ฏ๐ช๐ค๐ญ๐ฆ ๐ค๐ช๐ณ๐ค๐ถ๐ญ๐ข๐ต๐ฆ๐ด ๐ต๐ฉ๐ณ๐ฐ๐ถ๐จ๐ฉ ๐ต๐ฉ๐ฆ ๐ท๐ข๐ณ๐ช๐ฐ๐ถ๐ด ๐ญ๐ข๐บ๐ฆ๐ณ๐ด ๐ฐ๐ง ๐ฃ๐ฆ๐ช๐ฏ๐จ, ๐ด๐ฉ๐ฐ๐ณ๐ต-๐ค๐ช๐ณ๐ค๐ถ๐ช๐ต๐ช๐ฏ๐จ ๐ช๐ต๐ด๐ฆ๐ญ๐ง ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐ฑ๐ฐ๐ช๐ฏ๐ต ๐ธ๐ฉ๐ฆ๐ณ๐ฆ ๐ช๐ต ๐ฏ๐ฐ ๐ญ๐ฐ๐ฏ๐จ๐ฆ๐ณ ๐ฌ๐ฏ๐ฐ๐ธ๐ด โ- ๐ธ๐ฉ๐ฆ๐ต๐ฉ๐ฆ๐ณ ๐ช๐ต ๐ธ๐ข๐ด ๐ฃ๐ฐ๐ณ๐ฏ ๐ฆ๐ฏ๐ต๐ข๐ฏ๐จ๐ญ๐ฆ๐ฅ, ๐ฐ๐ณ ๐ช๐ง ๐ฆ๐ฏ๐ต๐ข๐ฏ๐จ๐ญ๐ฆ๐ฎ๐ฆ๐ฏ๐ต ๐ช๐ด ๐ช๐ต๐ด ๐ฎ๐ฐ๐ฅ๐ฆ ๐ฐ๐ง ๐ฏ๐ข๐ท๐ช๐จ๐ข๐ต๐ช๐ฐ๐ฏ.
Belly Conspiracy
A trio exhibition of my studio partners and I. The unique conversations orbiting around that shared space have led to the synergism of our materials. Common to all presented was an unyielding resistance to matter, an aspiration to turn the material "against itself" and violate it, thus giving rise to novelty, disruptions, and physical mutations, which in turn allow the evolution of sculpture โ as body and space .
Who Comes After Us?
My work has been presented in this multidisciplinary event, in the spirit and inspiration of Uri Katzenstein on the third anniversary of his death. Katzenstein was a radical artist known for his unique and uncompromising approach to performance, sound, video, and sculpture. In his work, he often explored the human essence in the world, its abnormalities, and the presence of the body in its wounds and disruptions.
Crocodiled Algorithm: Periodic Name
A crocodile, that emerged from a childhood memory or from a distant story, shed any burden of reality, and in an imaginary occurrence developed independence. As an imaginary occurrence, it has its own logic. While the crocodile materializes, whether in iron or in editing software, encounters and clashes create new platforms for her to form.