This line of inquiry extends to conceptualisms beyond the Anglo-American canon, foregrounding works from peripheral and locally situated contexts. Where Anglo-American conceptual art tended toward self-referentiality — turning language back on its own systems and conventions — practices that emerged elsewhere, including within Greek art, were shaped by different pressures: political urgency, cultural displacement, and the need to encode collective memory and local knowledge. In these traditions, language carries a different weight, and conceptual methodologies serve ends that are social and historical as much as formal.
Through a structuralist lens, I investigate how artworks construct the myths through which societies conceive of reality, and how these myths materialize as systems and codes that shape dominant patterns and reflect diverse social conventions. I am equally drawn to weaving traditions as systems of narration and knowledge: focusing on the loom's geometry and algorithmic logic, I trace its connection to early computation and the often-overlooked role of women in the history of technological innovation.
My work explores the human impulse to give form to invisible networks—linguistic, spiritual, and digital—proposing that systems are fluid rather than fixed, that technologies carry mythological weight, and that language operates as a connective tissue across time.