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'French Exit', since 2020.
Hundreds of thousands of dried grass strands suspended into a dense airborne field.
The material carries agrarian and domestic memory—harvest, drying, storage, housekeeping—so the piece reads as a chore. It was intentionally created to be labor-intensive for the hosting institution: logistics, rigging, and comb-through. In this sense, the installation makes institutional procedure its medium and blurs authorship—what is “the artist’s work” when the institution’s choreography is required to produce and sustain it? What's the relationship between the two?
The agrarian sentiment is not decorative either; it binds the piece to histories of hard labour and dependency—an echo of serfdom-era inverted into contemporary display, where attachment to upkeep defines the relation between maker, material, and a house.
Cultural banality – harvest residue, housekeeping routines, the low-status tasks that structure life. My interest is not sentimental: I’m curious how the banal (tying, combing, dusting) builds the spectacle, and how, once those routines stop, the form admits its ordinariness and lets itself fall apart.
