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Paper is a material with immense symbolism and cultural significance with a remarkable sculptural qualities and versatility.
Producing my own paper by combining Eastern and traditional techniques has allowed me to approach this material in experimental ways. In my work, I have focused on exploring three-dimensional and sculptural drawing and writing. Instead of drawing or writing on paper, I use colored pulp to trace lines, letters, and words, as if weaving a net in space. My works, free of any support, appear as if they were written or drawn in the air. The drawing, which no longer resides on paper but materializes with paper pulp, abandons two-dimensionality and takes a leap into the void, inviting transparency.
With liquid paper as my ink, I rewrite literary texts, poems, stories, and shared memories in a process that goes beyond mere transcription. The text offers no longer a linear and hegemonic reading with a single meaning but an experience open to multiple layers of meaning and the subjectivity of the observer. It is a writing that speaks both through its intensified materiality and through the emptiness that traverses and inhabits it.
This reconfiguration of text in space is deeply linked to the themes that run through my work: migration, communication, and social exclusion. I am interested in how traumatic experiences can generate identity crises and fractures in memory, and how these voids are embodied in the materiality of language, in its absences and silences, and in the shadows it casts.