I think I don’t make my work for specific space, because the work they go to like many, many different institution in many different contexts and they change form sometimes, because people either they don’t have the capacity, the space, dadadada, so I’m quite flexible. And all my work is online, so you can watch it just on your computer. In an installation, just a screening projection like [explanatory noise]. It doesn’t really matter to me, actually.
Non, okay, to be very down to matter, earth, most of my works they exist either as an installation or within the installation there’s a video often, so you can either show the video, like watch it online, it’s on vimeo or do a screening or put it on a monitor or actually, if you have the resource and the capacity, like to either ship or like to produce, you know, you can show it in the installation setting. So, it’s kind of this. And also like the offerings, the healing circle it needs me, so then I travel around to like hold the space for this.
Yeah, it’s important for me, that all my works are online and accessible to the most, you know, because art is a very niche industry, you know. Like who goes to gallery, like pay entrees to like a museum, like it’s not a space of the- the people, you know. That’s not how it’s sold, that’s not how it’s designed. It’s quite like exclusionary, so yes, to exist in this world, fine, because that’s how the industry is, but for me it’s important, that it reaches different worlds. And so, by being online it’s like, it’s there for whoever. Well still have access, because the internet is also not- is also a place of exclusion, but a bit less so than a gallery would be here.