the fish collection presents a body of sculptural works shaped from hybridized textile waste. fabrics treated with organic and mineral binders and pigmented with self-made natural dyes.
the collection stretches the limits of what fabric can become in their afterlife. each work holds material memory while simultaneously reconfigures the very identity of textile matter. what emerges is a hybrid material language, where fabric becomes architectural. their skin-like quality invites sensory immersion and embodied engagement, reimagining the relationship between body, material, and built space.

shell studies presents a body of sculptures formed from hybridized textile waste. Fabrics treated with organic and mineral binders, and pigmented with self-made natural dyes, acquire a mineral presence. Textile becomes crust.
Like the natural shell, the works evolve through layers. As record-traces—much like the growth lines inscribed in mollusk shells that register seasonal change and environmental conditions—they embody duration and transformation. Neither fully organic nor purely mineral, their hybrid interface frames the sculptures’ presence and anchors the work within a shifting habitat.

presents a series of sculptural works shaped from hybridized textile waste. Treated with organic and mineral binders and pigmented with self-made natural dyes, the fabric is stiffened into collapsed, body-like forms that rest directly on the floor.
Through processes akin to preservation or taxidermy, the textile is fixed into a new condition. The works evoke the logic of the specimen: a skin that persists as an autonomous sculptural presence, negotiating the afterlife of matter. This gesture becomes central—an emptied surface adapting to its new terrain while assuming structural autonomy as spatial artifact.

extends the work of We Gather Dust into embodied presence. In collaboration with Ghanaian artist Edwin Boye, plaster-treated textile waste was transformed into sculptural costumes. In their passage through the market, these wearables acted as mobile architectures. Fabrics that once circulated through countless hands recasted in another material language. In direct dialogue with people and matter a choreography emerged: ghostly doubles of trader staging discarded matter as a living archiv merging memory, ecology, and material transformation.

reimagines textile remnants as a utopian topography shaped by the interplay of structure and surface. By reworking textile remnants with bone glue pigmented with self-made natural dyes, and sealed with tung oil waste is elevated into formative elements in space. Stiffened and joined into structures that stand between softness and solidity these topographies expand the role of textiles from clothing and commodity into agents of ecological and spatial imagination. Integrating itself into existing topographies it offers a momentary skin that reveals connection while preserving mystery.

traces how architecture oscillates between the dream of universality and the grounding of situated practice. the juxtaposition of two contradictory figures—my grandmother’s acts of preserving and repurposing, and konrad wachsmann’s modular systems—opens a dialogue between universalism and hyper-locality, between the heroic narrative of progress and the quieter story of care, adaptability, and the unfinished.
from this tension emerged both an essay and a series of textile sculptures made from coloured and stiffened factory offcuts in germany. fragile architectures, which explore fragmentary joints and provisional connections. rather than striving for absoluteness, they embody cycles of dissolution and reinvention, echoing my grandmother’s gestures of reuse and point towards wachsmann’s structural experiments.

By re-casting physical fragments into digital counterparts - through scanning, layering, and hybrid texturing - I echo the precariousness of the material world while generating new imaginaries. These fragile and incomplete translations allow me to approach the digital not as mere representation, but as an epistemic terrain in its own right. Within the porous continuum of our increasingly blurred digital landscape, the work traces topographies of dissolution, where form unravels into pixel-based realms and new spatial imaginaries emerge.

presents itself as a textile installation on the exterior of an old factory building in Leipzig. The work is approached as a medium of relation, where a dialogue between textile materiality and architectural remnants takes form through extending textile arms. These arms stretch outward, connecting with the building in gestures that are at once tender and insistent, questioning how structures depend on one another. As connecting agents, they seek resonance with their surroundings. Their gestures negotiate dependency: both connector and intruder, they gently disrupt while never fully belonging nor entirely alien. By staging acts of attachment and release, of holding and letting go, the work reframes architecture as an organism of relations.

traces the lightness left behind after flight.
A feathered memory of departure.
What remains is not the body, but an atmosphere: a small fragment still vibrating.