STATEMENT

 

My work is organized around three recurring structures: the manuscript, the city and the mechanism. The first began with a novel. Over time I became interested in what happens when a text can no longer remain inside a book. Rather than illustrating literature, I follow the movement of a manuscript into other forms. In Journey of the Manuscript, books become objects, projections, trajectories and environments. In Bodies for the Text, language appears on bodies, skins and surfaces, searching for new carriers beyond the page. In Unsheltered, a book is exposed to weather, allowing wind, rain, sunlight and time to act upon the text beyond the control of its author.

The second line of work emerged from architecture, construction and the hidden infrastructures that sustain cities. This experience continues to shape projects such as Hidden Systems, Urban Bodies, Architecture of Care, Bathyscape, Mapped Bodies and Paris. These works are concerned with what normally remains concealed: communication networks, drainage systems, maps, structural supports and the organizational frameworks that make urban life possible. Here, cities gradually acquire bodily qualities and bodies begin to resemble infrastructure.

A third line of work examines the relationship between gesture and mechanism. In Pendulum Brush, the act of painting is transferred from the hand to a pendulum system. Images emerge through oscillation, gravity and duration rather than direct control. In USBrush, the brush itself becomes a sculptural object and a symbol of agency, action and authorship. Across all of these projects I return to the same question: what happens when a structure exceeds its original function? A manuscript becomes architecture. A city becomes a body. A machine begins to paint. My work follows these transformations and the unstable territories that emerge between categories.