-Can you tell us about your practice – what are you working on at the moment? 

My practice explores the ways in which technological development renders the human body and its voice invisible and inaudible under patriarchal systems of representation. At the moment, I’m busy making new works for Prospect 2022, which is happening mid May at Art Rotterdam. I’m working toward stained glass work and a cylindrical-shaped sound sculpture which is assembled as a voice assistant. The stained glass and the voice assistant may seem somewhat distant as objects (technologically, culturally etc.), yet both seem capable of occupying a liminal space in our daily lives that I wish to explore more. While they both have domestic utility – the colorful lights coming through your master bedroom or Alexa’s voice interrupting you) – they also touch upon themes of dominance and desire to feel the greatness in everyday life. 

– How did your practice change in relation to the precarious cultural circumstances during pandemic?

It had always been precarious. The pandemic did lead me to realize that I really want to make great work, for the right reasons. I was tired of making work based solely on deadlines and opportunities as they didn’t feel close to me. 

-What is your take on Amsterdam art scene? Did WOW Amsterdam help you to facilitate new connections?

I moved to WOW in March of 2020. Since it was the very beginning of the pandemic, it was difficult not to be able to interact with my neighbors, especially knowing I was surrounded by a community of very passionate and interesting artists and designers. I did participate when pandemic restrictions allowed, for instance, in the resident Masha Domracheva’s project ‘Future Everyday Life’ at De Appel. It was great to see what other residents in WOW were  interested in and working on, despite there not being as many opportunities during my time. 

-What kind of alternative models of networking did you observe in the artistic settings during pandemic?

Last year in 2021, I spent the majority of my time working out of a tile factory called Koninklijke Tichelaar in Makkum, with the end product being a large-scale public artwork that used the tiles I designed and produced. Makkum is a very quiet small town in Friesland, and it didn’t feel like a pandemic when I was there, so I guess working in the countryside in The Netherlands became an alternative model of networking for me. I met many craft workers and ceramic painters who had been making Dutch earthenware for more than 30 years. It was very interesting for me to see this side of production. I also saw lots of new digital platforms pop up under the restricted circumstances, however many of them were difficult to follow. 

-Please name five essential aspects necessary for you to keep your practice sustainable?

Vision, Kindness, Flexibility, Basic income, Healthy mind and body.

-What is your strategy to recharge?

Either isolating myself in a cave or putting myself on a stage. 

-If you would be reincarnated as some other plant or animal what would it be? 

False killer whale. They look very cool and I’m curious how it is to be a mammal in the water. 

Photos by Roman Ermolaev