INVOLUNTARY WRITING

2025/26| Triptych, 3 x A4 paper; 1 digital print, 1 digital photography print, 1 rubberstamp ink print.

Site-specific installation, acrylic paint on wall, various dimensions.

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While writing down a childhood memory about my inept handwriting, the wet ink from freshly written letters transferred onto the skin along the outer edge of my hand, while some of it was pressed back onto the paper. Observing both the page and my hand, I became more fascinated by the visual presence of the stains than by the text itself. My attention shifted from letters and words as signifiers to the shapes and constellations of the stains as involuntary traces of writing.

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Triptych

This shift in attention led to series of actions that treated the stain as an autonomous visual form. I photographed my stained hand holding the fountain pen, digitally extracted the ink stain from the image, and produced a rubber stamp from it. I stamped an empty paper with it. I then made a digital print of the written text and erased all letters that were not stained or smeared. I combined these three images into a triptych.

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Library of shapes

I digitally magnified, separated and indexed all individual shapes extracted from the photographed ink stain on his hand into a digital repository of shapes. Through processes of magnification, I work with these stains as autonomous visual forms. I explore their idiosyncratic, irregular shapes as visual elements that are neither illustrations, symbolic representations, nor abstractions, but incomprehensible forms that nevertheless radiate familiarity. I embrace this unobvious resonance by adopting a non-interpretative gaze—one closer to "listening to shapes" as an act of heightened attention and enthusiastic fascination, than looking at them as an act of interpretation.

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Site-specific installation

Guided solely by sensitivity to their graphic presence, I make site-specific constellations of selected enlarged stain particles that are composed in close relation to their surroundings. Through these configurations the work reframes the involuntary traces of voluntary activity as visual encounters with a parallel world we unknowingly create while we engage in everyday activities.

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The world we make without naming it.

A trace of touching nothingness.