The “fakeness” of glam points (like the finger at the mirror ball, it’s reflection pointing back at itself) to the bigger “fakeness”, the samsara of everything else, yet at the same time to the melancholia of our codependence on this fake old world –hence the true melancholia of true glamour. It’s only Rock’n’Roll, but we like it.

Like going outside on a white summer night, pointing at the moon and repeating three times: “I’m a witch, I’m a witch, I’m a witch” is irreversible, because you know you did it and that it works even if you don’t believe in it. Nothing is real, except the pointing.

I often refer to my process as a “sourdough” – a witches’ brew of fermentation or alchemy, in which some thing goes in and others come out, while the “mother” remains, but not unchanged.

My work thrives on the principle of cross-pollination, and I like it when boundaries blur and things get messy – as such I am not interested in archiving, but in composting,

When I start working on a (installation) project, I think in relationships between figure and ground, between persona and habitat.

In connection to a given (exhibition) space or situation I bring together a set of (often conflicting or unassociated) cultural tropes, to brew together and develop a set of relationships and ideas.

In order to make the different components come together I create a character, an alter ego, around which a body of writing and visuals can be generated. The reason for this move is to create a vessel, a different voice, and through this character to give myself the artistic license to venture into unchartered territory.

The project and the character develop in parallel, in the interplay between making and writing, between interior decoration and exterior exploration.

When asked about the character of my characters, are they indeed characters, personas or alter egos? I will say that I prefer to refer to them as imaginary friends… because we all need friends to get by in the art world!

They work by subtraction rather than addition, in the sense that their ideas and beliefs are tangential to my own, only more in the extreme, and the voice, space and the position they inhabit overlap with my own.

In the close proximity between my character’s realm and my own, my work has an obvious autobiographical character. As such I explore in how far migrant self-employment can be conceptualized as a form of self-exploitation. That said, my work is self-exploitative, only in as far as I care about being exploited or not!