My approach to wrapping objects is slow and personal. I begin with a strategically located starting point and continue to wrap the thread around itself until I reach the end. It requires deep concentration with a steady hand; however, slowly, it becomes hypnotic almost dream-like, to the point where my attention blurs, and materials and the process guide me.
In 2007, I wrapped a set of Matroska dolls, since then I have dedicated countless hours to refining my selection and perfecting the technique obsessively. It begins to feel like second nature; my hands instinctively know what to do next. I look for ways to enhance my sensorial experience and stay focused on the task, like listening to music with headphones; repetitive, atmospheric styles can amplify the slowness while I entomb each object. The tediousness dissipates as I slip deeper into my thoughts, feeling far removed from my immediate surroundings.
Fibre, through its very nature, communicates time; like various traditional techniques, this binding process is not complicated to do but requires a long span of attention, patience and stamina, making the process inherently connected to its meaning. Wrapping is a tactile process; as I apply the thread, I form an intimate connection with each chosen object.