What does space mean to you?
For me, space is not a fixed place or a completed architecture. It emerges through the relationship between body, object, and time. I am interested in the moment in which space becomes perceptible — not as something represented, but as a condition.
Often it is transitions, thresholds, or provisional situations in which space becomes most present. A supported entrance, a marking on the floor, a structure without a clear function. These situations already contain a certain tension. They suggest movement, use, or transformation without fully revealing it.
Your works often appear like fragments or temporary constructions.
I am interested in this state of incompleteness. Many of the works move between object and architectural structure — between support, frame, barrier, and tool. They often appear as if they belong to a larger system or as if they once had, or could have, a function that remains unresolved.
What interests me is not minimalism itself, but a form of spatial condensation. The works hold a moment in which something is beginning to emerge, shift, or disappear.
I do not understand sculpture as an autonomous form, but rather as a spatial condition.
You describe some of your works as “portals.” What do you mean by that?
I do not think of a portal as a passage from one place to another. For me, it is more a state of heightened presence.
I am interested in the moment before a possible transformation. A threshold in which perception becomes intensified. The works do not open an actual passage, but create a spatial and temporal tension. They mark situations of in-betweenness.
In this sense, the objects themselves become spaces. Not because they can be entered physically, but because they produce a certain condition of presence.
You speak about thresholds and states of transition, but the works themselves often appear very restrained.
I think that tension is important. The works avoid theatrical gestures, even though they are connected to ideas of staging and spatial activation.
Often only a minimal shift is necessary — a support, a frame, a slight interruption, or a redirected movement. I am interested in how little is needed for space to change its condition.
Because of that, the works remain deliberately open in their meaning, even when they appear physically condensed or closed. They do not dictate a narrative. They function more like spatial propositions or latent situations.
What role does the body play in your work?
The body does not activate the works through action, but through presence and duration. Relationships between scale, distance, direction, and time only emerge through staying with them.
Many of the works operate through orientation. They redirect movement, interrupt it, or create imaginary axes within space.
Sometimes very quietly.
The performative aspect therefore lies less in staging than in the act of remaining.
Your works sometimes resemble architectural elements or temporary interventions.
I am interested in architecture as a cultural and temporal condition rather than as planning or function. Especially in situations where structures become visible: supports, reinforcements, barriers, repairs, or provisional constructions.
These structures carry time within them. They speak about use, control, protection, or transformation.
My works often move between construction and ruin, openness and density, stability and fragility. They remain intentionally incomplete because I am less interested in the finished object than in the moment in which space begins to change.
What role does material play in this process?
Material is never neutral to me. Wood, metal, textile elements, or markings already contain social and spatial experiences. I am interested in their proximity to construction sites, stages, workshops, or urban transition zones.
The materials retain traces of possible use. This creates an ambiguity between function and abstraction.
The works could support, block, open, or mark something — even if they ultimately do not.
What remains important to you within your practice?
I am interested in the moment before something becomes fixed.
Many of the works exist in a state of suspension — between construction and collapse, function and abstraction, object and spatial condition. They suggest orientation, interruption, or transition without resolving into a final meaning.
Space appears to me less as a stable environment than as something continuously produced through presence, movement, and relation.
The works attempt to hold that condition for a moment.