You are trained as a painter, when have you decided to start using your woven technique and what role does it play in your practice?

When I was in the second year of studying oil painting, I felt limited when painting on the canvas, I felt that everything I painted, someone else painted before. But I wanted to use my own material. I left the canvas and wanted to use my own material for my art. With the thread, I am drawing in the air in a limitless space, I am creating three-dimensional art.

Is that true that you only use personal belongings as objects in your installations? Would you define you work as self only related narrative?

My art starts with my own story, my own private feelings or experience, but I want to expand this feeling because I think many people have the same emotions. That is why I collect items from many people like suitcases, keys, shoes, books, glasses. I never use new objects, only old or antique because there is always memory and stories from the person that the object belonged to. I want to weave the memory into the web. But I am also inspired by other objects like boats, which I use in installations.

Your installations are often very complex, how do you make a precise calculation of a time you need for the construction before the show? Does it always work? What was the longest?

The process of weaving the room is always the same, just the location is changing and the space or height of the room. In the beginning, it was very difficult to calculate the time, but after 300 exhibitions, it became easier to calculate how much time is needed. I also have a good team and they help and know what they need to do, some of them for over 20 years. The longest set-up was maybe one month. It was not such a big space, but it was a very important installation at the Venice Biennale in 2015.