«Invitation to the Voyage» is a poem from Charles Baudelaire’s 1857 The Flowers of Evil.
The poem takes the viewer to an imaginary land of beauty, luxury, calm and sensuousness,.
‘Ideal’- wins over ‘spleen’.
Architecture - transports me to that land, where dream is intertwined with reality.
Baudelaire creates analogies between a sensual woman and the landscape, this project links architecture to the woman’s body.
Luxe, Calme et Volupté II
[UNCLASSIFIED] records the uncensored Facebook conversations between the artist and her partner, a Western diplomat living in Moscow. The text of their messages is printed in invisible ink that can only be seen by the naked eye when exposed to ultraviolet light.
Viewers can scan the conversations with an ultraviolet torch with complete freedom, an allusion to the ever-present possibility of government surveillance.
Diplomats around the world are often surveilled but, as Snowden revealed, so are many private citizens. The work juxtaposes sophisticated digital technology with the almost comically analogue method used during the Cold War of delivering secret messages.
[UNCLASSIFIED] invites viewers to enter the artist’s home with an UV flashlight in the dark where they can discover the conversations, and question whether (as in Foucault’s Panopticon) the possibility of surveillance changes the way people correspond, act and live. It also points to the fragility of the private space.
This project invites people to reflect on language and the modes in which our generation communicates.
The installation consists of 15 white pages, spread across a white wall, capturing two weeks of Facebook conversations between the artist and her partner. These seemingly invisible, yet physical pages, transcribe visible, yet immaterial conversations.
Learning to use 3D modelling software in my practice broadened my spatial understanding of depth and form, inspiring the basis for this 2.5D project. In 3DsMax, the lathe tool creates a 3D object by rotating a line (in this case I chose the outline of the buildings) around its central axis (360 degrees). This technique allowed for the deconstruction and reconstruction of spaces to form endless combinations.
The resulting geometry of the object and of the building were thus intimately related, yet bore no obvious resemblance.
The wireframe (skeleton) of the obtained object in the program was captured (screenshot), and then the object was printed into a sculpture through the use of a 3D printer.
The project was then presented in triptychs: an architectural photograph, the traced digital object made with the software and the physical object (turned from digital to sculpture with a 3D printer).
The process alternates planes: from a 3D building initially, flattened into a 2D photograph, then turned into a 3D object inside a 2D screen, and finally back into a 3D sculpture.
The wireframe acts as a bridge, linking the photograph and the sculpture, existing only an an elusive intermediate plane - 2.5D since it is a 3D object created with a computer program, but it only virtually exists in our computers, on a flat 2D device.
In 2.5D, the photograph is not conceived as the final product, but quite the opposite- as the source of inspiration, the starting point.
Milan from below
«A map provides no answers. It only suggests where to look: Discover this, reexamine that, put one thing in relation to another, orient yourself, begin here... Sometimes a map speaks in terms of physical geography, but just as often it muses on the jagged terrain of the heart, the distant vistas of memory, or the fantastic landscapes of dreams.»
Miles Harvey, The Islands of Lost Maps: A True Story of Carthographic Crime
‘Earth from Above’ is a book by Yann Arthus-Bertrand presenting a collection of his aerial photographs, in which he captures vistas of Earth from various aircrafts. The resulting images are colorful, flattened, graphic and often abstract.
‘Milan from below’ uses the opposite angle, from below looking upwards to the sky, and captures corner of buildings all across Milan. This was my way to discover Milan throughout the first six months that I lived there. I divided the city into four areas, each divided into four squares. The resulting images are also flattened and rather abstract.
Although not offering an exact representation of the city, I find this map more helpful than one of Google Maps for instance, which has a ‘God’s view’ looking down. Having a visual memory and a passion for architecture, I remember more the buildings I pass by, than the name of the streets on which they are.
This project invites viewers to stop, be more present and conscious of their surroundings.
Antwerp, Belgium, New Years 2014- ongoing project.
My Babushka was recently diagnosed with Alzheimer's disease. I first visited her in her apartment in Antwerp and then in a nursing home nearby where she currently lives.
Despite her disease and everything she has been through in her life, she remains stronger than ever. A true source of inspiration.
This is Water
Extract from David Foster Wallace’s Essay: «This is Water»:
«There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, “Morning, boys, how’s the water?” And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, “What the hell is water?”»
His essay, to me, illustrates the importance of learning how to appreciate what we have, see beauty everywhere and the need for awareness.
«... awareness of what is so real and essential, so hidden in plain sight all around us, all the time, that we have to keep reminding ourselves over and over:
This is water.
This is water.»
Porterhouse by Laris restaurant in Hong Kong
Moët & Hennessy, Hilti and Megafon offices in Moscow
EVO Boutique Fitness in Berlin
Apartments for Barnes Luxury Real Estate in New York
Osanna Madina Visconti atelier in Milan
Redball project in Minnesota for artist Kurt Perschke