Upcoming work

NOBODY CARE

In the coming year(S) I will focus on NOBODY CARE(S), a new research that will take form as a book, an installation, and a series of workshops. It grows out of more than a decade of artistic work.

With Young Boy Dancing Group I spent ten years inside a collective practice where the body was always central and where we developed a shared language around non-sexual intimacy in performance. That experience of collective vulnerability and presence shaped the way I understand relation on stage.

In parallel, my work as a sex worker pushed me to think about intimacy as transaction and about the blurred lines between care, desire, and survival. These two contexts, one collective and one personal, became the foundation for Framing Intimacy (2020–21), where I invited other artists into the studio to co-create large collective paintings. Those canvases were less about painting itself than about what remains from the time spent together: a transcription of intimacy and care.

From there I moved into Desire Reigns (2023–25), a novella and installation cycle that followed intimacy under collapse: how it becomes commodified, how it turns into hyperperformance, how addiction and desire shape its limits. That work opened up the tension between intimacy as survival and intimacy as exhaustion.

NOBODY CARE(S) is the next step. If Framing Intimacy asked how intimacy can be traced, and Desire Reigns asked how it collapses, this project asks what holds us up, the infrastructures of care, dependency, and fragility that allow us to keep going.

This research also grows out of my daily work as a caregiver for people with disabilities, which has become inseparable from my practice as an artist. Over the past ten years, caregiving has been not just a side job but a field of knowledge, shaping how I think about dependency, survival, and presence. With NOBODY CARE(S) I bring these two strands together, the trajectory of my artistic work and the embodied experience of caregiving, to investigate how care can be understood as both an aesthetic and political infrastructure.

The project is not driven by answers but by questions.
How can care be shown not as sentiment but as structure?
What happens if a work of art depends on the attention, patience, or even care of its audience?
Can fragility be a sculptural strategy?
How do the routines of care, waiting, repairing, repeating, change how we experience an exhibition?
What kind of dependency exists between artist and collaborator, or between audience and artwork, and how can that be made visible?

I see this project as part of a longer history in art. In 1969, Mierle Laderman Ukeles wrote her Maintenance Art Manifesto and declared that cleaning and daily work were art. She made maintenance visible. My work continues from there, but instead of making care visible, it tries to make care inhabitable, not just seen from the outside, but lived and negotiated inside the work.