Artist Statement

What occupies me most in my artistic practice is the question of the rules and categories by which the world operates — and certainly the art world as well. What value is placed on bodies and their histories? And who constructs the gaze upon them? Something similar applies to places and bounded spaces: whoever wants to open them must first discover which patterns of order govern them. What is permitted to be represented at all? And how? By whom? Who or what is abject — and is the abject negotiable?

My artistic practice moves between performance, installation, video, photography, and object art. The starting point is often the body — particularly the female-read body — as a projection surface for social norms, attributions, and taboos. I am also drawn to the fantastic and the monstrous as a space of possibility: a site where the repressed becomes visible and normative orders begin to falter. I am equally occupied by the fragility of memory — how stories are passed on, transformed, or silenced.

A recurring element in my work is the material itself: I turn towards things that usually remain hidden and bring them into new contexts. In this way, private, intimate, or repressed aspects of everyday life are translated into the public sphere and subjected to critical inquiry. Public space plays an important role here: many works are created for temporary situations — as interventions into the everyday that generate unexpected encounters and exchange.

My practice is fundamentally collaborative. In collective performances, installative interventions, or participatory formats, artistic research, personal experience, and political intervention become intertwined.