As a trained architect and fashion designer, I find that space and its geometrical, temporal, and social dimensions are the focus of my interest in art. In my work, concepts such as surface and depth, plan and process, function and aura, repetition and variation, as well as uniformity and difference play a major role. These pairs of concepts, which characterize the artistic process, bring together—on an abstract level—works, which at first glance seem to belong to different disciplines, and whose appearance makes them seem heterogeneous.
In the most recent years I produced site-specific installations and textile pieces (some with a performative character), as well as objects and prints.
In my space-related installations, for example, I explore ways of experiencing space by using a processed image of a specific room to expose the real space behind the physical boundaries, with the help of anamorphic constructions of the surface.
In my Uniform Project this direct, specific experience of space was replaced with an experience that I myself have had over several years of performative experiments. While doing this kind of work, I wondered if and how it would be possible to master nearly every ordinary or even festive situation with a reduced number of exclusive, tailored pieces of clothing—or, in brief, to always wear the same thing everywhere. My theory was that repetition not only reveals the nature of the object, but also what I actually need. Establishing ahead of time the type and number of pieces to use as wardrobe building blocks, so to speak, and then repeatedly wearing them, allows one to test, affirm, or even discard extrinsic assertions about fashion and intrinsic assertions about oneself. In the repertoire of possible ways to present and represent oneself, this shifts clothing away from make-up to architecture. It becomes more like a building, and is experienced, worked upon, and altered as if it were one’s home. Reversing directions, my years-long exploration of 3D knitting led me from textile design to architecture. The architectural potential of knitwear lies in the immediate creation of space that occurs when the surface of a knitted piece is produced. Thus, I attempt to envelope the body with one thread, seamlessly, while at the same time inventing an appropriate, plausible way to depict these spaces in their designs.
These drawings reveal my great interest in complex geometry as it is defined by manufacture, or in the construction of things. This fascination continues with the construction of planes, surfaces, and different kinds of behavior. Textiles, which obviously play a big role in my work, are, in a certain way, just surfaces that make it possible for me to permeate the temporal, material, spatial, and social dimensions of an object or place.