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A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

A LABORATORY FOR TESTING RELATIONS: IN CONVERSATION WITH ANNA SOZ

Anna Soz (@sozxine) does not separate thinking from making. Working across installation, curation, pedagogy, and digital platforms, her practice assembles relations between found materials and theoretical frameworks, between historical persistence and present collapse. Every project is a chapter. Every chapter, a negotiation.

Her background moves through journalism, neuroscience, and IT, and it shows. There is a forensic quality to how she handles systems, objects, and ideas. A discarded knife, deadstock fabric, a broken sewing needle: things that have already been inside someone else's world, and arrive carrying it.

She asks whether Zugzwang has become our Zeitgeist. She works with the answer anyway.

A conversation on emancipatory thinking under constraint, the agency of the found, and what it means to build a practice that refuses to arrive.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

JUST A PIECE OF FLESH PERFORMING EXISTENCE: IN CONVERSATION WITH LORENA BUTA

Lorena Buta’s (@lorena.buta) paintings exist in the unstable space between hyperreality and disappearance. Working almost entirely in monochrome, she constructs worlds where dolls, porcelain figures, synthetic surfaces, and human fragments become vessels for depersonalisation, alienation, and emotional disconnection. Rendered with obsessive precision yet softened into dreamlike distortion, the works feel suspended somewhere between memory, technology, and psychological collapse.

In this conversation, Buta speaks on living inside her long-term project UNREAL, the visual language of dissociation, internet aesthetics, trauma, and the uneasy relationship between emotional vulnerability and contemporary image culture. What emerges is a practice less interested in representation than in inducing a state: a quiet, uncanny detachment where reality itself begins to blur.

A conversation on depersonalisation, hyperstimulation, and what it means to feel like a spectator within your own life.

Read the full conversation at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

From Rimbaud's grey acropolis to a mukbang livestream in the next room, what does it mean to be entertained by the circus when you are already inside it?

Lydia Grace (@rottenangelpoetess) moves through Paris, London, Ghent, and the wreckage of her own identity: asking who the jester really is, and who is being entertained.

Photography: Elizabeth Watson (@peachy_watson)
Live performances: @poorspigga @bananasplittil @david_varhegyi @operformancef @nicoletticontemporary @adultsentertained

Read in full at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

WHY DON'T YOU KEEP IT TO YOURSELF?

A visual essay by Diogo Gama (@diogogama__) arrives as a collage: messages, snapshots of nightclubs, public houses, the interior of cars. Communal spaces, but observed from within a particular solitude. Threaded through the images are transcriptions from books and personal writings, returning again and again to the textures of heightened feeling and love that has moved on. Nothing is over-explained. The mystery is the point.

Explore the full visual essay at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

THE BODY AS EVIDENCE

Photographer Juan Chen (@ju4nchen) and curator and co-founder of the platform Moco Chen (@creepymoco) begin from a tension between the body, the image, and the act of being seen.

John Berger suggested that seeing is never a neutral act. The way we perceive the world is shaped by culture, power, desire, and the media through which images circulate. In contemporary visual culture, seeing is no longer simply an act of looking. It has become a mechanism through which reality is reconstructed.

Spiritual alienation has never looked so familiar. When a person is continuously subjected to the gaze, aesthetic judgment, and commodification, their inner self begins to be recoded by an external image system. The viewer believes they are looking at a person. What they are actually seeing is a post-human surface; shaped collectively by media, desire, fashion, and us.

A photography project about the cost of being looked at, and what survives the image.

CO-CREATIVE DIRECTOR & PHOTOGRAPHER: @ju4nchen
CO-CREATIVE DIRECTOR & MODEL: @creepymoco
FASHION: @iris.yang329 @_nocturnekey_ @aiko_moemoe
MAKEUP ARTIST: @jenniferk_make_up
HAIR STYLIST: @mika__hair_stylist @mika___hair

See the full photography project at obtusearchive.com

#obtusearchive

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

SCARY UNDERNEATH: MIRANDA MONROE ON BEAUTY, LONGING, AND LOS ANGELES

Miranda Monroe (@mirandamonroe.xo) builds entire worlds from the inside out: hyper-saturated, theatrically staged, emotionally exposed. Families, rituals, fantasies that feel lived-in and slightly wrong. The work came from boredom, loneliness, and longing, and has never pretended otherwise.

Los Angeles gives her the duality. Euphoria and emptiness on the same street corner. The glamour is real, and so is what hides beneath it. That tension is the point.

A conversation on world-building as survival, the alchemy of Hollywood, and why the subject is always a little scary underneath.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

FOOD AS A MEDIUM OF SUBVERSION: IN CONVERSATION WITH BARNEY PAU

Barney Pau (@barneypau) does not cook to nourish. He cooks to argue. Working across food, writing, and art, his practice locates the meal as a site of cultural critique; where foraging, fermentation, and the act of eating become tools for questioning what we consume, and why.

His entry point is queerness: the deviance of rye that refuses monoculture, the sourdough placed in a bedroom, the weed pulled from a pavement and placed on a plate. For Pau, food’s ubiquity is precisely what makes it charged. It transcends language because it predates it. And so it can carry what language, tidied into argument, tends to lose.

A conversation on subversion, hunger, and what it means to feed someone an idea.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

GLORY, EXCESS, AND UGLY TRUTHS: IN CONVERSATION WITH MIKE SHULTIS

Mike Shultis (@shultismike) arrived at assemblage through frustration, the kind that clarifies rather than paralyzes. Trained in academic oil painting, he builds canvases that function less like pictures than like crime scenes: sites where taxidermy, consumer detritus, art historical quotation, and synthetic kitsch converge under conditions of deliberate excess.

Fragonard and Dumbo. Titian's Venus alongside cartoon cats. A taxidermy boar bursting through a Rothko. His edits of art history are not acts of irreverence so much as documentation, a record of the uncomfortable distance between American mythology and American waste. The plexiglass seals it all in, luring you toward the surface before the background catches up with you.

A conversation on accumulation, material instinct, and the pursuit of glory, excess, and ugly truths.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

ON THE VERGE OF DISINTEGRATION: IN CONVERSATION WITH HELENA MINGINOWICZ

Based in Poznań, Helena Minginowicz (@santa___helena) builds paintings of near-seamless surface, borrowing the compositional weight of Renaissance iconography and redirecting it toward a fist inside a plastic bag, a sheet mask, a paper towel. The hierarchy does not collapse so much as hesitate.

Her practice operates at a threshold: objects designed for use and disappearance are suspended long enough to become images. Then the image, too, begins to slip. Working across canvas, paper towel, and sheet mask, Minginowicz asks what it means to confer the language of devotional painting onto materials that were never meant to last.

A conversation on surface and control, fragmentation and authorship, and the symbolic weight of the disposable.

Read the full conversation at obtusearchive.com

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

THE MAKING OF THE FOOL: IN CONVERSATION WITH PYTKO

The Fool is out now. PYTKO's (@juliapytko) debut single arrives as the opening move of an EP built entirely around the Tarot deck, not as theme or aesthetic, but as working method. A set of coordinates followed without knowing where they would lead.

The track sits somewhere between contradiction and conviction. Not innocence, but the tension of moving forward without proof. Of staying true to something when nothing around you confirms it. Stream it, and you'll understand immediately why it had to be the first card turned.

The full conversation on the EP, the process, and the world being built around it is on obtusearchive.com.

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

WHEN SPACE STARTS CONTROLLING THE BODY: REVIEW ON CARE ( ) — STUDY 00 AND STUDY 01

What happens when space is no longer a backdrop, but a method?

Founded and directed by LINX (@linx.cw), CARE (@care_______e) operates as a spatial methodology studio, constructing perceptual frameworks rather than singular works. Through the orchestration of light, sound, material, and bodies, space becomes an active condition, one that calibrates how we sense, move, and orient ourselves within it.

In Study 00 and Study 01, perception is not guided but unsettled. Repetition, pause, and transition replace narrative, allowing ambiguity to emerge not as absence, but as structure. The body, no longer stable or autonomous, becomes something continuously read, modulated, and reconfigured by its environment.

Moving between discipline and openness, CARE asks: when ambiguity is sustained as a method, does it sharpen perception, or risk dissolving into atmosphere?

A review on structure, attention, and the quiet force of space acting on the body.

Read the full review at obtusearchive.com

Text by Carolyn Chang (@carolynnotcarolineee)

#obtusearchive

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​

FLOWERS, INTUITION, AND THE STORIES THEY CARRY: IN CONVERSATION WITH CROCO

What does it mean to arrange flowers not as decoration, but as memory?

For Giulia Rinaldi, also known as Croco (@croco_floral), flower arranging begins where language ends. Working through seasonality, intuition, and material chance, she builds compositions that carry the weight of stories, borrowed from neighbours’ gardens, forgotten charity shops, and childhood bamboo groves.

Her practice resists the sentimental. Flowers here are ritualistic, symbolic, and quietly dramatic. A camellia falls whole at its most perfect moment. A napkin from a forgotten wedding becomes a form inside an arrangement.

A conversation on storytelling, seasonality, and the intelligence that works through the hands.

Read the full conversation at obtusearchive.com

#obtusearchive​​​​​​​​​​​​​​​​