THE PROCESS (Work in Progress, Since 2023)
The Process is an open-ended exploration deeply inspired by how easily a human life can become a Kafkaesque nightmare when it enters the labyrinth of legal bureaucracy. I am captivated by the immense suffering, the paralyzing stress, and the profound loss of identity that individuals endure within a systemic environment that—rather than searching for the truth—so often plays at twisting truths to cover and manipulate, abusing and ignoring how detrimental is for Menthal and emotional health. This project is entirely about Process—the chilling, institutional mechanism of Kafka’s "The Trial" (originally Der Process), the agonizingly slow grind of the legal process, and the transformative, unpredictable nature of the artistic process itself.
As an artistic researcher, I use the studio as a dynamic laboratory to discover new methods that can articulate into broader methodologies for understanding the world, transforming material, and embracing difficult memories. Through this inquiry, my work seeks to raise urgent questions about institutional authority, systemic abuse, and the destructive nature of the courts. For me, the research method happens entirely through the physical exploration of the making itself, where I don't truly know the outcome until I go through the physical work.
My current process involves hand-papermaking, specifically reclaiming and recycling discarded, personal and historical court files into raw pulp to cast paper sheets and organic, hanging skins. This labor-intensive material manipulation physically dismantles the rigid, oppressive weight of legal bureaucracy. It is through the literal friction of grinding, soaking, and pulling the paper pulp that a deeper understanding of my studio method emerges, eventually articulating into a clear research methodology. By leaving room for the unknown and letting the material dictate the form, the studio becomes a site of genuine philosophical discovery. I want to allow the daily trial, error, and unexpected discoveries of the process to reveal how these cold, recycled public archives want to transform into fragile records of human lineage and memory.
Looking forward, my current inquiry requires a radical shift in scale, transitioning from individual material experiments into expansive, site-responsive installations where I can manipulate, dry, and assemble these works. My primary objective is to engage solely in this deep exploration of making, establishing a rigorous papermaking workflow and letting the studio trial-and-error dictate the direction of the work. I want to utilize vertical and horizontal spaces to prototype three-dimensional installations, exploring how these recycled legal skins interact with light, shadow, and video projections, creating a labyrinth as a sign of bureaucracy.
My focus remains entirely on analyzing how these unfolding studio methods continuously form a cohesive research methodology.
Work in progress is to be changed, to be transformed, to be continued...
The Process is an open-ended exploration deeply inspired by how easily a human life can become a Kafkaesque nightmare when it enters the labyrinth of legal bureaucracy. I am captivated by the immense suffering, the paralyzing stress, and the profound loss of identity that individuals endure within a systemic environment that—rather than searching for the truth—so often plays at twisting truths to cover and manipulate, abusing and ignoring how detrimental is for Menthal and emotional health. This project is entirely about Process—the chilling, institutional mechanism of Kafka’s "The Trial" (originally Der Process), the agonizingly slow grind of the legal process, and the transformative, unpredictable nature of the artistic process itself.
As an artistic researcher, I use the studio as a dynamic laboratory to discover new methods that can articulate into broader methodologies for understanding the world, transforming material, and embracing difficult memories. Through this inquiry, my work seeks to raise urgent questions about institutional authority, systemic abuse, and the destructive nature of the courts. For me, the research method happens entirely through the physical exploration of the making itself, where I don't truly know the outcome until I go through the physical work.
My current process involves hand-papermaking, specifically reclaiming and recycling discarded, personal and historical court files into raw pulp to cast paper sheets and organic, hanging skins. This labor-intensive material manipulation physically dismantles the rigid, oppressive weight of legal bureaucracy. It is through the literal friction of grinding, soaking, and pulling the paper pulp that a deeper understanding of my studio method emerges, eventually articulating into a clear research methodology. By leaving room for the unknown and letting the material dictate the form, the studio becomes a site of genuine philosophical discovery. I want to allow the daily trial, error, and unexpected discoveries of the process to reveal how these cold, recycled public archives want to transform into fragile records of human lineage and memory.
Looking forward, my current inquiry requires a radical shift in scale, transitioning from individual material experiments into expansive, site-responsive installations where I can manipulate, dry, and assemble these works. My primary objective is to engage solely in this deep exploration of making, establishing a rigorous papermaking workflow and letting the studio trial-and-error dictate the direction of the work. I want to utilize vertical and horizontal spaces to prototype three-dimensional installations, exploring how these recycled legal skins interact with light, shadow, and video projections, creating a labyrinth as a sign of bureaucracy.
My focus remains entirely on analyzing how these unfolding studio methods continuously form a cohesive research methodology.
Work in progress is to be changed, to be transformed, to be continued...
