objects
Porcelain, fired books and poem objects.
*
In the beginning is the word: its materiality, its sound and rhythm, its memory, its capacity to take a body in paper, or in porcelain. It gathers dust. It is repeated, mistranslated, mismembered. It is pressed and scattered , perforated into a score, folded into a book, fired in the kiln.
Even the codex, that symbol of Western knowledge and stability, carries an underlying shadow of transience. Libraries burn. Science is distorted. Knowledge moves into the cloud.
*
DAMNATIO MEMORIAE turns mid-twentieth-century Lithuanian books into porcelain: the condemnation of memory, made in the material that outlasts the paper it replaces.
*
I am interested not in the preservation of herritage as an unchanging museum artefact; I am interested in its capacity to persevere in reinvention through new material forms, new language structures and technologies.
*
From November 2026 to January 2027 I will be at the Taoxichuan Art Centre on the Migratory Birds residency, entending my practice into porcelain and poetry in Jingdezhen, China — the birthplace of porcelain, the start of the White Road, a city that has fired language onto clay for a thousand years. For three months, I will be developing a new body of work, “Poetics of Continuity,” combining traditional Jingdezhen porcelain with poetic practices, especially the tradition of European concrete and visual poetry. The project continues from my Lovatiese works and my preoccupation with the materiality of language, as much as with the ideas of fragility, authenticity and renewal. The residency will play with the movement of language and tradition between the printed page and fired porcelain — both permanent and fragile in different ways.
