Gabbriette for Ann Demeulemeester
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DEAR READER
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@yucayucayuca
Gabbriette for Ann Demeulemeester

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In the Distance - Andrea Kowch
Funeral Home (1980)
Parable of the Sower, Octavia Butler
âCreate no images of God. Accept the images that God has provided. They are everywhere, in everything. God is Changeâ Seed to tree, tree to forest; Rain to river, river to sea; Grubs to bees, bees to swarm. From one, many; from many, one; Forever uniting, growing, dissolvingâ forever Changing. The universe is Godâs self-portrait.â
Jean Paul Gaultier x Roche Bobois Mah Jong Modular Sofa

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Sawing through stacks of paper, June 17 2019. Sitting in the display windows of the art space in the midst of the red light district, I grew red in the face sawing through stacks of blank paper, a desperate action with only one result: more.
A performance at spoken word event Words Off The Page.
In attempt to come closer to what it means to love institutions and art, I licked and kissed Trixie passionately.
Inspired by the writings of Frank Hubbe who describes the phenomenon of âThe Rebel Consumerâ. I used the âmainstreamâ YouTube vlogger content to reframe a mass produced Bershka shirt with the words âNot Commonâ.
Theparadox within the shirt is parallel to the rebel consumer. this consumer seeks to defy capitalism and the mainstream by buying items that sets them apart.Â
Homewrecked.
Domestic objects made by casting from originals. in the process of production the object falls apart, the aim is to ride the line between familiar and unfamiliar. Manufactured estrangement produces a non definition. These objects are not functional, nor have they ever been in a domestic setting.
After Irma
A selection of snapshots of destruction and rebuilding on the island of Sint Maarten.

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Please Remain Seated
Power Dynamics 2
What does it mean to wield force when itâs done consensually?
What does it mean to submit to force when you have invited it?
What is the dynamic when a person becomes a tool?
Who is the author when there are four hands?
Power Dynamics 1
The Blackest Face
For the opening of the Migration MuseumÂ
I became the âotherâ. By the use of black paint and itsâ connotations I became a horrifying sight. I walked through the room silently, greeting visitors as they came in. I invited the visitors to play the instrument I was holding through gesture. Asking them to overcome their first impressions and connotations with my appearance. When the visitor successfully produced sound, I blessed them by removing paint from my forehead and marking theirs. The visitors were marked by the interaction and wore a visible sign of the exchange.
Performing PovertyÂ
A performance work at the event âQueering the churchâ
In order to call attention to the position of the unpaid artist in society and this event in particular. I set up my studio in the cold, receiving guests with tea while a snippet of a manifesto about wages and labor played in the background.Â
The event was organised by Het Zuiderstrand Theater, yet only two of eleven performers were paid. This struck me as odd, particularly because the theme âQueernessâ which is derived from Queer theory is meant to highlight oppression and power dynamics. My perfomance became a protest, demanding compensation.

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BoundÂ
imposing my will on material through the use of rope.Â