How do you describe your own art practice?
I engage with various mediums, including printed matter, performance, video, and installation, all centred around the notions of time and memory. Specifically, I am interested in the cycle of remembering and forgetting, as well as the vast realm of personal and collective image creation. Recently, I also started investigating the symbiotic relationship between architecture and memory, where I find inspiration in the individual histories of different exhibition spaces.
My working method is often defined by seemingly endless repetition of simple gestures. Whether it’s perforating different materials, tearing paper, or popping bubble wrap, these actions can evoke both a meditative and frustrating experience.
Which question or theme is central in your work?
Time, labor, architecture, craft, and memory are the primary topics that intertwine in my work. What interests me the most are the connections between them and the conflicts that arise.
What was your first experience with art?
I had never thought about it before. Now, when I reflect on it, the first thing that comes to mind is a drawing exercise from my primary school days. In that exercise, we were instructed to fill ten rectangles with dots, beginning with just one dot in the first rectangle and gradually adding more until the last rectangle was completely filled. I remember thoroughly enjoying that exercise. It appears that my fascination with repetition of gestures and slowness actually began back then, even though the exercise itself had a different purpose.
What is your greatest source of inspiration?
Things shaped by time and the shape of time, the history of things as well as the way we spend our time. Also, my latest obsession is architecture and its transformation (partitioned windows and doors, altered exteriors, signs of demolition or any architectural change over time).
What do you need in order to create your work?
Time alone.
What work or artist has most recently surprised you?
Ismail Bahri. Maybe it’s not the most recent one, but it’s definitely the artist I follow for some time now. I have developed a deep admiration for his work the first time I saw his film Foyer at the Artefact festival in Leuven in 2019. His documentation of simple gestures and actions left a lasting impression on me. He reflects upon the very essence of the image itself—the way it materializes, exists, and influences our perception. His work explores the complexities of time, the power of attention, the ephemeral nature of appearances and disappearances, the act of recording and the fragility of images.
Caption for first image: Sandra Lakicevic (in collaboration with Angyvir Padilla) – From ‘already no longer’ to ‘not yet’, double-channel video installation, color, sound, 7’1’’, 2020
