It has been formative to my adulthood and practice, along with the decision to return to the area.

It speaks of volumes’ many potentialities.

They transform material potencies and, therefore, the form. They create different spaces and times for them to simultaneously belong to.

They imply a process of change: a transition through a vector from one state to another.

I do not perceive communication in forms other than words as a problem or a compromise. The ability to be compelled to “talk” without words is something inherent, I think. A skill that you are either able to do or not, as a way of dealing with the world. Putting order to it. Confronting your own inner world and, at the same time, the surrounding one, through other self-fabricated vocabularies.

How much of a mess we became collectively as we got stuck in alienation. But still, how we have managed through our artworks - not to really give any imposing manuals for change - but dared to believe or propose that things could be different.

The conversations I have with my artist friends, their practices, our persistence in staying committed to crafting worlds, in trying to communicate even through miscommunication. Any unexpected glimpse of hope and endurance in a world where the surrounding aura right now feels largely nonsensical.

Mostly NTS Radio. London times remain...

Recently, the podcasts ‘Women Read’ and the ‘For the Wild - Plants Are Political’ series.

The Wall (1963) by Austrian writer Marlen Haushofer. A wonderful dystopian fiction on womanhood. There is an afterword from 2022 by writer Claire-Louise Bennet in the edition I have. ‘When will it stop being anyone else’s business if a woman chooses to live on her own and do god-knows-what all day?' she writes. And she sums it all up for this study on claustrophobia and liberation.

Black Dog (2024) by Guan Hu. It’s a poetic exploration of communication in isolation, set in a raw post-industrial societal decay and a reflection on fragile redemption. Beautiful.

Hard to decide. Usually hovering between Rome and Paris. I would say Rome, as the layering of time and the profound trajectory from the ancient to the contemporary have a soothing familiarity.

or Associations! The artist-run international association we co-founded with dear artists and friends Alfatih, Shuyi Cao, Dorota Gawęda, Eglė Kulbokaitė, Gaby Sahhar, and Jenna Sutela. or Associations is organized in a cooperative structure, and it perceives collaboration, transparency, and synergy between artists as a shared ground. It centers on the artists’ practices, aiming to create a solidarity network between them and provide them with a direct relationship with collecting institutions. Despite our different geographies and cultural backgrounds, we have managed to structure an adaptive network through collaboration and care. I can’t wait to see or Associations grow through our upcoming projects and collaborations. At the same time, I am looking forward to other inspired paradigms which will challenge collectivity and propose methods of coping with the art world otherwise.