Aquarium², 2026
steel, aluminum, OSB, pine board, rubber
The first half of my recent contribution to “Solutions & Strategies”, hosted by @biennale.wien at @badeschiff_no.1
The second half of my recent contribution to “Solutions & Strategies”, hosted by @biennale.wien at @badeschiff_no.1
Crossing, 2026
plaster, cement, resin, wax
Recovering from a four-week winter plague by rewatching X-Men, I was slapped across the face—long overdue—by how much of it had already infiltrated this body of work.
A year ago I filled my phone with long notes on personal myth and collective catastrophe; on submission as a commanding structure in persistent prayer for reciprocity; on comradeship’s promises and rehearsed betrayals.
I look back at my juvenile delinquent horsemen with pride and fear.
They protected me as much as I tried to protect them.
Maybe that was always the arrangement.
4444/X.Vlad.To
4444/X.Nia.To
4444/X.William.To
4444/X.Liv.To
These two are recently framed byproducts from a forgotten installation a couple years back.
They feel more consequential in this newly excavated form, as if time and removal have allowed something dormant to harden. Or, as the botched, wealthy antagonist in Ridley Scott’s Hannibal (2001) remarks of Lecter himself (who clearly isn’t the villain of that wicked flick): “Let the damage he sees suggest the damage he could do.”
That November, when I drew them, I remember mercilessly scrubbing the black ink off my hands, only to infect everything else with it, while jumpstyle hopping to Horrah on persistent repeat—Hevenu Shalom Aleichem, admittedly grotesquely on the nose—to no avail.
FfOoRr #1 and #4, 2023
ink drawings, scanned and inkjet printed on transparent A3 papers
Longpigs Ashes (2024–25)
was an installation turned performance turned video: a very serious joke about protection and thievery.
Reflecting on the haunting nature of culture creating itself through destruction, the works question who protects who, who steals from who, who narrates who.
It thinks it’s cringe, sexy, and threatening; longing to fort fractured belief through cannibalistic (de)composition.
Longpigs Ashes, April 2023
Crowd-control plinths, barrier ribbons with sublimated text, PLA artifacts printed from scans of objects in the British Museum’s collection, aluminum stand, karaoke microphone
Longpigs Ashes—Tainted Love, April 5, 2024
Longpigs Ashes—Tainted Love—Recollection Rendition, 14:21 min video, April 2025
Documentation: @danielaviad_@charlottedijkgraaf & myself
