how do our cyborg-like habits reinvent the nature and process of metamorphosis?   which space am I inhabiting?

these questions emerged in 2013 when I found myself under the same roof with a family of honeybees. they suddenly swarmed indoors and settled in. The first of many such visits, since then. That milestone experience gradually intertwined with the research on habitats and social learning from the journalistic career which I had recently quit. the acknowledgment  further expanded into the process of metamorphosis that I’ve been unwittingly involved in through non-human encounters. the more i learnt about dynamics of pollinators and domestication, the more compelling the analogies with human communities became.

to me, practicing art means being committed to foregrounding “unresolvable” positions, much like chasing the enlightenment by staring at a hive in progress, like an ephemeral goethean phenomenon though. Whether fostering intimate knowledge throughout the materiality or facilitating the endless process of life and death in organic matter previously disturbed, my practice aims to provide recovery after disruption or collapse.

the methods of the creative process are shaped by labour-intensive manipulation of a special waste from apiculture, considered unproductive due to moth infestation. its organoleptic specificity comes actually from interspecies cooperation over the years including  multilayered human interventions, as well as artistic techniques. extra organic encounters eventually gather onto artifacts at all levels, past a certain degree of (my) control, interfering with our gaze. the unpredictability of the ultimate design eventually embodies organisms’ purposes, regardless of being ecological or artificial creatures.