A Body is Never Still explores how movement can be registered through material processes rather than directly represented. It develops from my broader interest in movement across internal, gestural, and spatial scales, with the (women’s) body as the primary site where these movements are experienced and registered. In this project, I focus specifically on fluid movement, drawing from internal bodily processes such as the circulation of blood, the flow of cerebrospinal fluid, and the migration of neurons.

My working process is based on fluid actions leaving a trace such as staining, absorption, and the redirection of liquid mediums. These processes are not intended to illustrate bodily systems, but to operate in parallel with them. By allowing water and diluted paint to move across the surface, the work creates conditions in which material behavior mirrors the logic of internal flows.The resulting forms can occasionally resemble organic structures such as neural networks or blood/spinal formations, however I see them not as visual representations, but as traces of the material transformation.

The project is realized through painting, installation and sound. The materials used for the painting process are chosen for their capacity to carry, absorb, or transform liquid matter. The sound piece is based on a recording of resonating tuning forks, extending the idea of fluid movement into vibration. In this way, movement can be not only seen, but also felt.

The installation method is built on the idea that the works are subject to the same physical conditions as the human body while the works themselves are scaled in relation to my own body height. Rather than being elevated or hanging on the wall, they occupy the space and are grounded, either standing on a base or touching the floor. By doing so, I aim for the gravity, weight, contact and size of the works reinforce a sense of physical presence and embodiment. It is important that the works are situated in a shared physical and spatial conditions with the viewers.