Studies on the materiality of memory is a collection of works gathering around the keeping of time as a notation in space, as a way of moving and arranging skins, copies, impressions and layers, taking things in and out of circulation.

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The remains of a face mask as shed skin rests on building materials such as plastic mesh, perforated metal sheets, and conductive materials such as bronze, and rust from fingermarks decayed alongside the cellulose of films whose content remains potentially unknown. A glassblown belly lays on an aluminum plate smeared with vaseline while circular shapes make their appearance as coins, key-rings and perforations pointing to the endlessness of time, the Lion of Judah from an Ethiopian coin alluding to the area as the birthplace of humanity, against the backdrop of a metal grid where a padlock is hanging, as in on a bridge in Europe where lovers pledge the privacy and ownership of their bonds.

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Working with frail ways of keeping things together through the use of magnets, shoe-strings and nails, camera films, masks and objects found in the studio are rearranged in an embodied manner, in a choreography of remembering versus forgetting, touching upon notions of preservation versus loss, layering and hiding screen memories that only now exist through their outlines or materiality, embedded in it but invisible, tracing emotions forgotten but still vaguely felt in the infrathinness of gestures.