I do not regard the creative act as an expression of freedom or a confirmation  of my own agency. Creation always takes place within a network of dependencies — technological, material, and historical — that shape and constrain what I am  able to say and show.          

            I am drawn to Roland Barthes’ notion of the death of the author — the idea that meaning is not born from the creator’s intention but emerges in the tension  between language, image, and the viewer. In this sense, I am not the source of  meaning but rather someone navigating a landscape of pre-existing forms, codes,  and narratives. Creation becomes, for me, a process of working with borrowed material — digging through things that precede me and often escape my control.          

            I am also inspired by Donna Haraway’s posthumanist perspective, which emphasizes the entanglement of humans, things, and technologies. This way of thinking allows me to see the creative act not as an individual gesture, but as the effect of multiple forces — including non-human ones.          

            I understand creation, therefore, as a critical act — breaking apart established forms and challenging the languages and images we too easily accept as natural.  What interests me is the moment when the work begins to expose its own limitations,  when the medium ceases to be transparent. 
It is there — in the fracture — that art truly begins.