Living in a time of urgency, in the middle of global warming and with the threat of mass extinction, our visible and invisible entanglement with our surroundings is uncovered. We are, as Donna Haraway put it, not only in but of the world. We are intertwined with myriads of microbes, fungi and yeasts that help us flourish. It is those touching points I am interested in as an artist, trying to capture their beauty for a better understanding of where I sit in the world. Though I am working in a variety of media, intaglio printmaking lies at the heart of my practice. The natural world is the grounding stone in my practice. Especially what happens at a microbiological level is hugely fascinating to me. This also opens up the question where nature really starts and how are we distinguished from it. In my everyday life as artist and maker, I blend culinary and artistic creations, fascilitating microbes in the making of sourdough breads and taking this entanglement as a starting point for my work. Through it I am trying to conserve ephemeral memory by inscribing it into material,. We are learning through a process I call shadowing: when baking and kneading dough I shadow my mother’s hands shadowing all the hands that came before her. This process requires a direct point of contact between generations, creating what Bernard Stiegler referred to as “long circuits” . We are thus following archaic gestural knowledge. Through my art I aim  to produce memory supports which, according to Stiegler, allow me to access “the past that is mine but that I have nevertheless not lived”   as a way to make it accessible not only for me but a wider audience.

Living with a fear of loss I am trying to preserve fleeting gestures.