When and why have you decided to become an artist?

As a child I was an obsessive collector of all kinds of found objects, chestnuts, sea shells, stones, fragments of broken things. I carried them with me everywhere every time we moved and
revisited them almost daily imagining various rituals and narratives around the collections. I think it is this very intimate relationships with the found objects that I formed in these years that often echo in the way I approach working with objects today. Curiously I cannot pinpoint the moment of consciously verbalizing the decision to become an artist. I am always drawn to root structures, sources, embryos, ancestries, etymologies but not necessarily as a point of origin but rather a concealed stage within a greater and longer phase of development. Similarly I think this idea has materialized alongside me as I grew older and developed, as the objects around me aged and evolved their own way, and as the spaces I was attached to moved further into the past or disintegrated.

What is the concept behind your lemniscates loop sculptures and where does it come from?

The lemniscates ∞ are objects made from several flights of stairs of reclaimed handrails. The pieces are reassembled in a different order repurposing the spiral of the stairs into a a loop, coiling upon itself and taking the shape of a distorted mathematical infinity symbol. I was first attracted to the handrail as it is an object moulded specifically to fit in the palm of the hand, it is an architectural feature intended to form an intimate connection with a body. It guides the hand into three-dimensional space, choreographing fluid and familiar movements all around it. Always guiding but never itself in motion, it is a support structure that connects through touch and has the ability to lead from one place to another. Its wooden surface, crafted by hand over hundred years ago has been altered by its prolonged exposure and interaction with other hands. Through touch it acquires the DNA of hundreds of people becoming a collective portrait of the absent human bodies. This relationship between the skin and the wood, between the hand and the rail, between a person and a building signals a continuity that runs through the human body, architecture and space. The multidimensional infinity symbol that appears in all the pieces in the series brings back the notion of cyclicality and eternal returns.  The symbol has become identified with a variation of the ouroboros, an ancient image of an alchemical snake eating its own tail that has also come to symbolize the infinite repetition of life and death cycles, the binary duality of existence, the theory of eternal recurrence through space and time.