The action I take in my work is also the vehicle for its significance and content. Whether it’s a piece of paper dipped in colored liquid, now carrying its load of color as it becomes a coat when it dries (dipped paper series), or paper left exposed to the sun, so that its erosion brings to the fore the image upon it (oxidized paper series), providing a continuous line drawn with a marker in a predetermined process that ends only when the dye runs out (the lifespan of a green marker), or a bottle of cooking oil dripping and staining a square of fabric folded and placed to absorb the tracks created throughout the exhibition (oil on fabric).
The choice is usually that of a minimalistic action focused on the “near nothing”, whose boundaries are defined in advance. The sphere of action is thus necessarily small, and often entailing some difficulty. That narrow action is then repeated again and again.
In my latest studio work, I have surrounded the paper with a drawn line. To do this, I hung the papers in the studio space, tied to the ceiling and floors, so I constantly move and work around them. This desire to create situations, the marked line of paper existing without the support of a wall, is my motivation, as is the effort to preserve the line’s stability as its support is gone.