Above all, it is about the mark makings and their repetitive nature, recording the transience of time. They are here to record and fix a passage: Almost like a “memento mori” of a present moment or a strange archeologic record. On the same line as the drawings of Michaux's, ceasing "the flow of time and consciousness" and "given to see the interior sentence, the sentence without words", the work wants to seize the invisible.

My painting thinks about making space from within, inspired by Merleau-Ponty, who emphasised the body as the primary site of knowing the world, with his ‘indirect ontology’ that ‘we are the flesh of the world’.

Along the same tradition of Post-minimalism, in my work, the process is highlighted, and the work is always handmade. The colour palette is strict and organic. The process explores materiality, seriality and repetition inspired by the systematic formal order of nature. I follow pre-established rules to prepare the canvas: They are unstretched and pre-dyed with plant or fruit, then with ink, mechanical lines are drawn over. The work is laboured over for weeks: folded, dragged: ageing through the task. The title merely is the hour of labour such as in 229 is a composite of thousands of handmade ink markings made over 229 hours.

I have always been fascinated by the complexity of nature and its “magic”, which eventually led me to use natural dye. Colour directly extracted from nature, like an alchemist. Obtaining the colour from my environment is a way to reconnect with it. To create re-enchantment around nature and maybe inspire respect. The avocado was also a way for me to use the waste of my kitchen, but also its materiality charged the canvas surface with its history (in Mesoamerican use links within maleness). Repetitive marks, embroideries or home-made paper, are all methods that I used in my practice, and they are all motivated by their nature of repetitiveness and time consuming labour.


Currently in my research, the paintings seek to create tension between our everyday experiences of acceleration by using tactics of deceleration. The canvases store time, archive a plant and represent a place. The paintings are constructed through slow processes and investigate past crafts such as dying, sewing and weaving. The practice explores materiality, and repetition inspired by the rhythm and the systematic order of nature. The work is visually abstract and minimal, yet it represents a place. The paintings are an index of the process, a fragment of landscape, an archive of a plant that opens past connections with the natural world.

The practice investigates overlooked hand-made processes, their potential to slow us down, and their modes of embodiment, entangled within the material world. Borrowing from different textile traditions, the work explores lost domestic time and archaic modes of production and past knowledge. The emphasis on laborious processes, dilated time and duration is used as a methodology to experience and analyse a more heterogeneous present, to disrupt our current time-compression and reconnect with our natural surrounding.

The work is what is left of an action. Investigating the body at work, its repetition and attentiveness during the painterly process. Thus the painting is an index of events, places and plants and investigates the archival and mnemonic properties of materiality. Walking, picking, planting and growing are all a part of my practice and through which I explore strategies for different temporalities.