I approach every gesture as a form of labor.

Preparing a meal, serving a drink, moving a sculpture, consulting an archive, cleaning a space, or welcoming visitors are ordinary actions that transform not only materials but also the relationships between people. Having long practiced these gestures in jobs undertaken to earn a living, I now take them as the starting point of my artistic research.

Through sculpture, performance, and edible materials, I relocate these gestures into the field of art in order to reveal their social, political, and symbolic dimensions. Rather than representing labor, I seek to reactivate it. My works take the form of situations in which cooking, carrying, sharing, casting, or handling become the very conditions of the experience.

I work with everyday materials—plaster, wood, concrete, ceramics, food, and manufactured objects — because they retain the memory of their uses. They allow me to approach sculpture as a sequence of operations rather than as an autonomous object. A work continues to exist as it is moved, served, dismantled, or reactivated.

Each project emerges from a specific context. A residency, an encounter, or a particular place becomes an opportunity to observe local practices, forms of knowledge, and narratives. The sculptures, performances, meals, or lectures that result do not seek to illustrate these situations, but to put them into experience. I do not ask people to participate in an artwork; I invite them to activate gestures they already know. It is through this shift that sculpture comes into being.