BIO
My research focuses on the relationship between art and language, and on their mutable dynamics—structures, genres, and transformative potential. Grounded in my background in literature and linguistics, my curatorial and art-historical practice examines language as both a communicative tool and a coded system shaped by rules and patterns. Drawing on the legacies of minimalist and conceptual art, I approach language as both an artistic medium and a subject—open to repetition, reformulation, reinterpretation, and productive mistranslation.

I expand this inquiry by seeking conceptualisms beyond the dominant Anglo-American canon, foregrounding practices that emerge from peripheral or locally situated contexts. In these settings, I examine how conceptual methodologies intersect with cultural knowledge, collective memory, and alternative epistemologies, thereby challenging the hegemonic narratives within conceptual art history.

My research extends into systems theory, examining forms of language shaped by mathematical principles, scientific models, technological infrastructures, and myth-making. Using a structuralist perspective, I explore how language presented in artworks constructs the myths through which societies conceive reality. I am particularly interested in how these myths materialize as systems and codes that shape dominant patterns while also reflecting diverse social conventions.



Parallel to these inquiries, I research weaving and textile traditions as systems of narration and knowledge transmission. I examine how textiles function as storytelling devices—encoded forms of knowledge passed across generations. My interest centers on the loom’s geometry and algorithmic logic, tracing its connection to early computation, from punch-card binary systems to the foundational—yet often obscured—role of women in the history of technological innovation.

Through my research-driven curatorial practice, I bring historical and contemporary works into dialogue, focusing on artistic engagements with mathematics, optics, and technology—from kinetic art of the 1960s to contemporary digital experimentation. I am particularly drawn to artists who employ archival research, diagrammatic thinking, and coded structures, and whose practices frame the machine as both promise and paradox, revealing instability alongside poetic and speculative potential.

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.





STATEMENT