Light-permeable and semi-rigid sculpture made from textile waste, bonded with bone glue and finished with tung oil.

Its surface folds into a luminous, skin-like volume that diffuses light while holding a delicate balance between collapse and stability.

Tectonic sculpture made from textile waste, bonded with bone glue and coloured gypsum.

Within this work, textiles transform into a crust, echoing the growth lines of mollusk shells that record seasonal and environmental change.

Textile fresco made from textile waste, bonded with bone and casein glue and coloured with mineral pigments.
The surface condensed into a wing or collapsed body, a fossil-like trace of suspended movement.

Glued, stiffened, and coloured post-consumer textile waste.
The surface settles into a thin, skin-like fragment forming a quiet bodily presence.

textile sculpture out of textile waste glued with bone glue and coloured textile waste.
The works evoke the logic of the specimen: a skin that persists as an autonomous sculptural presence, negotiating the afterlife of matter.

suspended structure out of glued, stiffened, and coloured post-consumer textile waste.
As a sedimented skin, the work records processes of accumulation that holds the afterlife of material between residue and transformation.

Digital image collage composed of modified textiles and digital overlays
These translations allow 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.

Spatial installation model at a scale of 1:5, made from stiffened textile composites, exploring their structural and atmospheric potential.
The layered textile surfaces unfold into an enclosing formation, defining a spatial condition between cave, body, and landscape.

Site-specific installation made from textile waste glued and stiffened with bone glue, coloured with mineral pigments and coated with tung oil.
Extending across the exterior of an old factory building, textile arms reach outward to establish a dialogue with the architectural remnants, acting as connective-agents that negotiate spatial practice as an organism of relations.

A utopian topography made from bone glue–stiffened textile remnants, coloured with earth and mineral pigments and sealed with tung oil.
The work unfolds as a fragile skin of the ground, where layered accumulations form a speculative landscape.

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.

Lighting objects made from semi-rigid, translucent textile composites, developed from discarded textiles, natural binders, and pigments. By preserving the fragmentary nature of the waste, the developed material is positioned as a carrier of memory and value, unfolding as luminous structures that engage with the cultural and ecological dimensions of material transformation.