Instagram Story Save

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

Countdown Grabowsee, Oranienburg 2025

Countdown Grabowsee is an annual collaborative summer residency on the grounds of Heilstätte Grabowsee, fostering artistic collaboration through workshops, readings, performances, chance happenings, and communal living.
as if i were breathing with the planets (2025) was made in between sketching, swimming and cooking communally during the ten day residency at Grabowsee.

𝘏𝘦𝘭𝘭 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘴 𝘣𝘶𝘵 𝘩𝘦𝘢𝘷𝘦𝘯 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘸𝘰𝘳𝘬𝘴, Blindside Gallery
curated by Kyle McIntyre
Hell is full of good meanings but heaven is full of good works investigates queer extensions of yearning, empathy, desperation for connection and divinity through creating immersive installations, sculptures and paintings - allowing a suspension into a heaven that is full of good works.

There are two key iterative works in this exhibition by Dean Ansell, and Tiana Jefferies. These works create a thread that connects the varying localities of thinking, making and showing. Eric Della Bosca, Stefa Panoschi & Amy-Jean Mitchell further the investigations into queer extensions of yearning, empathy and divinity

30 Jan–1 Mar 2025

Photos: Sebastian Kainey

𝘏𝘦𝘭𝘭 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘴 𝘣𝘶𝘵 𝘩𝘦𝘢𝘷𝘦𝘯 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘸𝘰𝘳𝘬𝘴, Blindside Gallery
curated by Kyle McIntyre
Hell is full of good meanings but heaven is full of good works investigates queer extensions of yearning, empathy, desperation for connection and divinity through creating immersive installations, sculptures and paintings - allowing a suspension into a heaven that is full of good works.

There are two key iterative works in this exhibition by Dean Ansell, and Tiana Jefferies. These works create a thread that connects the varying localities of thinking, making and showing. Eric Della Bosca, Stefa Panoschi & Amy-Jean Mitchell further the investigations into queer extensions of yearning, empathy and divinity

30 Jan–1 Mar 2025

Photos: Sebastian Kainey

𝘏𝘦𝘭𝘭 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘴 𝘣𝘶𝘵 𝘩𝘦𝘢𝘷𝘦𝘯 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘸𝘰𝘳𝘬𝘴, Blindside Gallery
curated by Kyle McIntyre
Hell is full of good meanings but heaven is full of good works investigates queer extensions of yearning, empathy, desperation for connection and divinity through creating immersive installations, sculptures and paintings - allowing a suspension into a heaven that is full of good works.

There are two key iterative works in this exhibition by Dean Ansell, and Tiana Jefferies. These works create a thread that connects the varying localities of thinking, making and showing. Eric Della Bosca, Stefa Panoschi & Amy-Jean Mitchell further the investigations into queer extensions of yearning, empathy and divinity

30 Jan–1 Mar 2025

Photos: Sebastian Kainey

𝘏𝘦𝘭𝘭 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘴 𝘣𝘶𝘵 𝘩𝘦𝘢𝘷𝘦𝘯 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘸𝘰𝘳𝘬𝘴, Blindside Gallery
curated by Kyle McIntyre
Hell is full of good meanings but heaven is full of good works investigates queer extensions of yearning, empathy, desperation for connection and divinity through creating immersive installations, sculptures and paintings - allowing a suspension into a heaven that is full of good works.

There are two key iterative works in this exhibition by Dean Ansell, and Tiana Jefferies. These works create a thread that connects the varying localities of thinking, making and showing. Eric Della Bosca, Stefa Panoschi & Amy-Jean Mitchell further the investigations into queer extensions of yearning, empathy and divinity

30 Jan–1 Mar 2025

Photos: Sebastian Kainey

𝘏𝘦𝘭𝘭 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘴 𝘣𝘶𝘵 𝘩𝘦𝘢𝘷𝘦𝘯 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘸𝘰𝘳𝘬𝘴, Blindside Gallery
curated by Kyle McIntyre
Hell is full of good meanings but heaven is full of good works investigates queer extensions of yearning, empathy, desperation for connection and divinity through creating immersive installations, sculptures and paintings - allowing a suspension into a heaven that is full of good works.

There are two key iterative works in this exhibition by Dean Ansell, and Tiana Jefferies. These works create a thread that connects the varying localities of thinking, making and showing. Eric Della Bosca, Stefa Panoschi & Amy-Jean Mitchell further the investigations into queer extensions of yearning, empathy and divinity

30 Jan–1 Mar 2025

Photos: Sebastian Kainey

Garden Variety Dykes, Firstdraft

GARDEN VARIETY DYKES
Tay Haggarty, Abbra Kotlarczyk, Tiana Jefferies, Seren Wagstaff, Amy Sargeant & Annie Monks

Garden Variety Dykes is a group show inspired by the PDF of the same name; ‘Garden Variety Dykes: Lesbian Traditions in Gardening’ edited by Irene Reti and Valerie Jean Chase in 1994.Each artist created new work that directly references one chapter from the heartfelt publication. With each contribution, this exhibition dives into queer ecologies, puts forward questions surrounding the continuation of a queer linage in climate activism and explores sapphic yearning in the garden space.

Getting a Grip self-reflexively pokes fun at the suburban backyard culture Jefferies grew up in, recalling a fenced green space tangled with heteronormative relationships. Resembling green rubber snakes, the work looks as if they are channelling falling thunderstorms into a spurt, a dribble, a leak. Materials of control and dominance over nature turn into something irreverent.
28 March - 10 May 2025

Photos by: Jessica Maurer

Garden Variety Dykes, Firstdraft

GARDEN VARIETY DYKES
Tay Haggarty, Abbra Kotlarczyk, Tiana Jefferies, Seren Wagstaff, Amy Sargeant & Annie Monks

Garden Variety Dykes is a group show inspired by the PDF of the same name; ‘Garden Variety Dykes: Lesbian Traditions in Gardening’ edited by Irene Reti and Valerie Jean Chase in 1994.Each artist created new work that directly references one chapter from the heartfelt publication. With each contribution, this exhibition dives into queer ecologies, puts forward questions surrounding the continuation of a queer linage in climate activism and explores sapphic yearning in the garden space.

Getting a Grip self-reflexively pokes fun at the suburban backyard culture Jefferies grew up in, recalling a fenced green space tangled with heteronormative relationships. Resembling green rubber snakes, the work looks as if they are channelling falling thunderstorms into a spurt, a dribble, a leak. Materials of control and dominance over nature turn into something irreverent.
28 March - 10 May 2025

Photos by: Jessica Maurer

Garden Variety Dykes, Firstdraft

GARDEN VARIETY DYKES
Tay Haggarty, Abbra Kotlarczyk, Tiana Jefferies, Seren Wagstaff, Amy Sargeant & Annie Monks

Garden Variety Dykes is a group show inspired by the PDF of the same name; ‘Garden Variety Dykes: Lesbian Traditions in Gardening’ edited by Irene Reti and Valerie Jean Chase in 1994.Each artist created new work that directly references one chapter from the heartfelt publication. With each contribution, this exhibition dives into queer ecologies, puts forward questions surrounding the continuation of a queer linage in climate activism and explores sapphic yearning in the garden space.

Getting a Grip self-reflexively pokes fun at the suburban backyard culture Jefferies grew up in, recalling a fenced green space tangled with heteronormative relationships. Resembling green rubber snakes, the work looks as if they are channelling falling thunderstorms into a spurt, a dribble, a leak. Materials of control and dominance over nature turn into something irreverent.
28 March - 10 May 2025

Photos by: Jessica Maurer

Garden Variety Dykes, Firstdraft

GARDEN VARIETY DYKES
Tay Haggarty, Abbra Kotlarczyk, Tiana Jefferies, Seren Wagstaff, Amy Sargeant & Annie Monks

Garden Variety Dykes is a group show inspired by the PDF of the same name; ‘Garden Variety Dykes: Lesbian Traditions in Gardening’ edited by Irene Reti and Valerie Jean Chase in 1994.Each artist created new work that directly references one chapter from the heartfelt publication. With each contribution, this exhibition dives into queer ecologies, puts forward questions surrounding the continuation of a queer linage in climate activism and explores sapphic yearning in the garden space.

Getting a Grip self-reflexively pokes fun at the suburban backyard culture Jefferies grew up in, recalling a fenced green space tangled with heteronormative relationships. Resembling green rubber snakes, the work looks as if they are channelling falling thunderstorms into a spurt, a dribble, a leak. Materials of control and dominance over nature turn into something irreverent.
28 March - 10 May 2025

Photos by: Jessica Maurer

Garden Variety Dykes, Firstdraft

GARDEN VARIETY DYKES
Tay Haggarty, Abbra Kotlarczyk, Tiana Jefferies, Seren Wagstaff, Amy Sargeant & Annie Monks

Garden Variety Dykes is a group show inspired by the PDF of the same name; ‘Garden Variety Dykes: Lesbian Traditions in Gardening’ edited by Irene Reti and Valerie Jean Chase in 1994.Each artist created new work that directly references one chapter from the heartfelt publication. With each contribution, this exhibition dives into queer ecologies, puts forward questions surrounding the continuation of a queer linage in climate activism and explores sapphic yearning in the garden space.

Getting a Grip self-reflexively pokes fun at the suburban backyard culture Jefferies grew up in, recalling a fenced green space tangled with heteronormative relationships. Resembling green rubber snakes, the work looks as if they are channelling falling thunderstorms into a spurt, a dribble, a leak. Materials of control and dominance over nature turn into something irreverent.
28 March - 10 May 2025

Photos by: Jessica Maurer

The Road to Hell is Paved with Good Intentions, CARPARK, Milani Gallery

‘The road to hell is paved with good intentions’, a group show with Dean Ansell, Tiana Jefferies, Bryan Foong and James Lemon, curated by Kyle McIntyre.

The road to hell is paved with good intentions is a group exhibition that explores queerness through its entanglements with nature, inherited knowledge and ancestry. The exhibition emphasises the tendency for empathy to act as a prevalent motivator within each artist’s material enquiries.

"Travelling out of this room and into the hallway of the gallery, you’ll find a sparsely lit room to the left with glimpses of a florescent net dangling from the ceiling. The net/web/hammock is set among fallen leaves scavenged from the trees in the backyard of the gallery. When you enter - the net dances. "

from exhibition essay by Kyle McIntyre

3 – 31 August 2024

Photos: Carl Warner

The Road to Hell is Paved with Good Intentions, CARPARK, Milani Gallery

‘The road to hell is paved with good intentions’, a group show with Dean Ansell, Tiana Jefferies, Bryan Foong and James Lemon, curated by Kyle McIntyre.

The road to hell is paved with good intentions is a group exhibition that explores queerness through its entanglements with nature, inherited knowledge and ancestry. The exhibition emphasises the tendency for empathy to act as a prevalent motivator within each artist’s material enquiries.

"Travelling out of this room and into the hallway of the gallery, you’ll find a sparsely lit room to the left with glimpses of a florescent net dangling from the ceiling. The net/web/hammock is set among fallen leaves scavenged from the trees in the backyard of the gallery. When you enter - the net dances. "

from exhibition essay by Kyle McIntyre

3 – 31 August 2024

Photos: Carl Warner

The Road to Hell is Paved with Good Intentions, CARPARK, Milani Gallery

‘The road to hell is paved with good intentions’, a group show with Dean Ansell, Tiana Jefferies, Bryan Foong and James Lemon, curated by Kyle McIntyre.

The road to hell is paved with good intentions is a group exhibition that explores queerness through its entanglements with nature, inherited knowledge and ancestry. The exhibition emphasises the tendency for empathy to act as a prevalent motivator within each artist’s material enquiries.

"Travelling out of this room and into the hallway of the gallery, you’ll find a sparsely lit room to the left with glimpses of a florescent net dangling from the ceiling. The net/web/hammock is set among fallen leaves scavenged from the trees in the backyard of the gallery. When you enter - the net dances. "

from exhibition essay by Kyle McIntyre

3 – 31 August 2024

Photos: Carl Warner

The Road to Hell is Paved with Good Intentions, CARPARK, Milani Gallery

‘The road to hell is paved with good intentions’, a group show with Dean Ansell, Tiana Jefferies, Bryan Foong and James Lemon, curated by Kyle McIntyre.

The road to hell is paved with good intentions is a group exhibition that explores queerness through its entanglements with nature, inherited knowledge and ancestry. The exhibition emphasises the tendency for empathy to act as a prevalent motivator within each artist’s material enquiries.

"Travelling out of this room and into the hallway of the gallery, you’ll find a sparsely lit room to the left with glimpses of a florescent net dangling from the ceiling. The net/web/hammock is set among fallen leaves scavenged from the trees in the backyard of the gallery. When you enter - the net dances. "

from exhibition essay by Kyle McIntyre

3 – 31 August 2024

Photos: Carl Warner

The Road to Hell is Paved with Good Intentions, CARPARK, Milani Gallery

‘The road to hell is paved with good intentions’, a group show with Dean Ansell, Tiana Jefferies, Bryan Foong and James Lemon, curated by Kyle McIntyre.

The road to hell is paved with good intentions is a group exhibition that explores queerness through its entanglements with nature, inherited knowledge and ancestry. The exhibition emphasises the tendency for empathy to act as a prevalent motivator within each artist’s material enquiries.

"Travelling out of this room and into the hallway of the gallery, you’ll find a sparsely lit room to the left with glimpses of a florescent net dangling from the ceiling. The net/web/hammock is set among fallen leaves scavenged from the trees in the backyard of the gallery. When you enter - the net dances. "

from exhibition essay by Kyle McIntyre

3 – 31 August 2024

Photos: Carl Warner

making hose works at Wreckers, 2023

Thinking back to the sweaty, drippy dances I did to make these bbys that are now in the sweet care of @garden_variety_dykes

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a
friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to
make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly
behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with
the world. I press, pull, push with care and accept the curve it makes.

Pics by @irinastrauss from @garden_variety_dykes exhibition curated by @tay_haggarty 💚

getting a grip, 2023 hose, round bar

Prophylactic synthetic skin
Interior spine of steel
As if I were trying to manipulate the tides, the rainfall, the puddles


Getting a grip self-reflexively pokes fun at the suburban backyard culture I grew up in. I couldn’t wait to shake off the hetero relationships entangled in this fenced green space. I seek out materials that
prescribe a certain way of interacting with land or an element of the weather. These green, rubber
snakes channel falling thunderstorms into a spurt, a dribble, a leak. There’s something about a desire
for control or mastery that I find amusing (and also alluring).

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with the world. I press, pull, push with care and accept the curve it makes.

Pics by @irinastrauss from @garden_variety_dykes exhibition curated by @tay_haggarty 💚

getting a grip, 2023 hose, round bar

Prophylactic synthetic skin
Interior spine of steel
As if I were trying to manipulate the tides, the rainfall, the puddles


Getting a grip self-reflexively pokes fun at the suburban backyard culture I grew up in. I couldn’t wait to shake off the hetero relationships entangled in this fenced green space. I seek out materials that
prescribe a certain way of interacting with land or an element of the weather. These green, rubber
snakes channel falling thunderstorms into a spurt, a dribble, a leak. There’s something about a desire
for control or mastery that I find amusing (and also alluring).

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with the world. I press, pull, push with care and accept the curve it makes.

Pics by @irinastrauss from @garden_variety_dykes exhibition curated by @tay_haggarty 💚

getting a grip, 2023 hose, round bar

Prophylactic synthetic skin
Interior spine of steel
As if I were trying to manipulate the tides, the rainfall, the puddles


Getting a grip self-reflexively pokes fun at the suburban backyard culture I grew up in. I couldn’t wait to shake off the hetero relationships entangled in this fenced green space. I seek out materials that
prescribe a certain way of interacting with land or an element of the weather. These green, rubber
snakes channel falling thunderstorms into a spurt, a dribble, a leak. There’s something about a desire
for control or mastery that I find amusing (and also alluring).

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with the world. I press, pull, push with care and accept the curve it makes.

Pics by @irinastrauss from @garden_variety_dykes exhibition curated by @tay_haggarty 💚

getting a grip, 2023 hose, round bar

Prophylactic synthetic skin
Interior spine of steel
As if I were trying to manipulate the tides, the rainfall, the puddles


Getting a grip self-reflexively pokes fun at the suburban backyard culture I grew up in. I couldn’t wait to shake off the hetero relationships entangled in this fenced green space. I seek out materials that
prescribe a certain way of interacting with land or an element of the weather. These green, rubber
snakes channel falling thunderstorms into a spurt, a dribble, a leak. There’s something about a desire
for control or mastery that I find amusing (and also alluring).

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with the world. I press, pull, push with care and accept the curve it makes.

Pics by @irinastrauss from @garden_variety_dykes exhibition curated by @tay_haggarty 💚

getting a grip, 2023 hose, round bar

Prophylactic synthetic skin
Interior spine of steel
As if I were trying to manipulate the tides, the rainfall, the puddles


Getting a grip self-reflexively pokes fun at the suburban backyard culture I grew up in. I couldn’t wait to shake off the hetero relationships entangled in this fenced green space. I seek out materials that
prescribe a certain way of interacting with land or an element of the weather. These green, rubber
snakes channel falling thunderstorms into a spurt, a dribble, a leak. There’s something about a desire
for control or mastery that I find amusing (and also alluring).

I think of the words Michael Fried used when he wrote about the theatricality of Minimal Art to a friend: f*ggot sensibility. I hope that’s what this is here. A rejection of cold structures; closed,
determined, formal ways of being in the world. And instead, a making of something playful, joyful. A
more responsive and more responsible way of being in the world. I know how hard I have to push to make a curve. I’ve learnt how one material will respond when I twist, lean, hang. I accept the badly behaved tendencies of objects; I delight in their mischief. That’s when you know you’re making with the world. I press, pull, push with care and accept the curve it makes.

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

🧡 season

Lucky to feel this warm

Coming to a carpark near you 🤍

If you live near 270 Montague rd south of the Maiwar in Meanjin

Opening at @carparkgallery tomorrow

Coming to a carpark near you 🤍

If you live near 270 Montague rd south of the Maiwar in Meanjin

Opening at @carparkgallery tomorrow

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

the road to hell is paved with good intentions ✨a moodboard✨

Curated by @kylemcntyre for @carparkgallery

here's to the people i've been making mischief with

Thinking about recent work (and trying to find my feet in this marshy city) I realised that the things i needed to feel at home did not involve structures or materials at all

they were gaps. between myself and the people around me. and the quality of those gaps.

a knot is a problem until it is a pattern. and then it is a net. and then it is knit. if ever my neighbour might slip, i will hold

i hope that the spaces i encounter might be encircled by love, that i might be defined by the care I can offer, that those who catch me when i fall know I will do the same for them. again and again and again. making making making. this is the principal of net making: through connection, all things take form.

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

Long awaited 💚 szn

I didn't know hearts could get this full

I leave the city into a world of pine and silken water, transporting me back to the Weichselian glaciation that formed these landscapes ten thousand years ago. Ice advanced southward from Scandinavia, past the Baltic, reaching the edge of the North German Plain before retreating again. An ebb and flow of ice that created this landscape. Hard and cold that left dripping wet marshes. I walk along the Landwehr Canal after days of snow. Compacted and compressed into itself, the pathway of white-grey ice melts into a dirty slush and then disappears into a puddle. On a good day (or night), this is how I feel in the arms of others.

Other lakes are legacies of clay and sand pits, gravel quarries and lignite mines—testaments to the industrial era that changed the landscape in more recent times. Berlin’s formerly inaccessible, mist-covered marshes were drained with the help of Dutch engineers in the seventeenth and eighteenth centuries, relegating the marshlands to the surrounding countryside. I think about the potential these wet, marshy territories hold and what of their intangible properties remain in Berlin’s canals, rivers and tributaries. I walk home with friends one evening and they point out the dim lighting of a bar: an atmosphere we’ve become familiar with in Winter. I wonder what this shadowy, soft light fosters? The playfulness it allows – a potential in murkiness? Ample resources and no-one watching. Nutrient dense, messy, not pretty but sexy.

Into the Swamp is a curatorial program by @ventana_project curated by @aquilesjarrin and @irving_ramo

Documentation by @marteconesa

Last days ✨

Thank you to everyone who has visited so far, I'll be hanging out this Sunday afternoon 16-19h for a beer and a chat. Would love to see you there!

Alt-Tempelhof U-bahn station platform U6 (one stop after tempelhof)

See you underground x

Thank you @ventana_project for the opportunity and support 💛

Photo by @marteconesa 💗