Artist Statement
My practice lingers somewhere within the interstitial in-betweenness of constant motion, shaped by patterned repetitions of ritualised gestures, embodied materiality, and a quiet desire for familial proximity.
I draw on fragmented memories of my Mother’s Kalocsa embroidery motifs, to explore slippage between remembering and forgetting, where memory is residual, latent, elusive, and embodied.
My making unfolds through the language of ritualised gestures, repeated bodily lines that curve and return – weaving, braiding, embroidering, tracing, imprinting – sensing home as suspended in motion; remembered, relational, and rhythmic.
Influenced by Mona Hatoum, Anna Torma, Ann Hamilton, Do Ho Suh and Anish Kapoor my sculptural ruminations activate emotionally charged ephemeral, tender often brittle materials like caraway seeds, human and horsehair, glass, silk-paj, and ceramics.
In my current work, misremembered embroidery motifs are etched into sandblasted glass, shaped like a floorplan of my Mother’s kitchen, woven with braided horsehair and red satin ribbons. These ever-evolving, expanded forms in states of incompleteness – amalgamate architecture, memory, and the human body into porous, absorbent, responsive fabrics that bear the inscriptions of lived experiences.
In my installations, I aim to activate a sense of localness through site-responsive, situated encounters that transform space into a shared act of movement and perception – creating ceremonial environments that weave and re-weave relationships between space-material-body, tracing my remembered home, not as fixed location, but as experienced intimately from within.
My work, perhaps, is a meditative search, a quiet desire to return home.
I draw on fragmented memories of my Mother’s Kalocsa embroidery motifs, to explore slippage between remembering and forgetting, where memory is residual, latent, elusive, and embodied.
My making unfolds through the language of ritualised gestures, repeated bodily lines that curve and return – weaving, braiding, embroidering, tracing, imprinting – sensing home as suspended in motion; remembered, relational, and rhythmic.
Influenced by Mona Hatoum, Anna Torma, Ann Hamilton, Do Ho Suh and Anish Kapoor my sculptural ruminations activate emotionally charged ephemeral, tender often brittle materials like caraway seeds, human and horsehair, glass, silk-paj, and ceramics.
In my current work, misremembered embroidery motifs are etched into sandblasted glass, shaped like a floorplan of my Mother’s kitchen, woven with braided horsehair and red satin ribbons. These ever-evolving, expanded forms in states of incompleteness – amalgamate architecture, memory, and the human body into porous, absorbent, responsive fabrics that bear the inscriptions of lived experiences.
In my installations, I aim to activate a sense of localness through site-responsive, situated encounters that transform space into a shared act of movement and perception – creating ceremonial environments that weave and re-weave relationships between space-material-body, tracing my remembered home, not as fixed location, but as experienced intimately from within.
My work, perhaps, is a meditative search, a quiet desire to return home.
