The idea that the self is not a stable entity and is influenced by external forces can be unsettling, even frightening. In response, we tend to define ourselves through rigid labels — man, artist, mother, daughter, leader, failure, outsider, logical, emotional, etc. — believing these identities to be absolute, and a way to maintain a sense of certainty and predictability. Yet, if the self is an ever-shifting interplay of external influences, unconscious patterns, and personal evolution, does clinging to these definitions provide necessary stability, or does it only serve to confine us? By holding onto a singular notion of who we are, aren’t we ultimately limiting our capacity for transformation and growth?

At the center of the space, a pyramidal structure radiates light, symbolizing expansion and the multitudes we all carry within. Surrounding it, tangled black cables form a parasitic network that seeks to envelop and distort that light; and represent the unseen forces that shape and constrain one from becoming the higher form of Self. However, the cables are detached from the central structure. Sprawling across the floor and hanging from the ceiling, they linger in its proximity, as a presence rather than a force of domination. Additionally, a sound recording of the wind on a field in Fuerteventura (Spain) adds another dimension to the experience, reinforcing the presence of external and intangible forces.
The installation invites viewers to reflect on selfhood beyond fixed identities and the possibility of releasing oneself from restrictive narratives. Like a modern-day Orlando, Virginia Woolf’s protagonist who moves through centuries, transforming from man to woman and defying societal expectations; ‘The Unbound’ challenges rigid definitions of self. Ultimately, the term ‘unbound’ captures this notion of liberation and absence of boundaries, representing the freedom from constrain