— Excess Baggage
2025 - ongoing
The Palette (Medusa), 2025 - UV Print on Plywood, Oil Paint, 30 x 45 cm
Excess Baggage is a body of work that looks at how memory shapes the idea of home and the relationships formed within a family. The project begins from ordinary scenes and familiar objects, the small things that accumulate meaning over time. I draw from my personal archive, where photographs, gestures, and inherited belongings hold traces of intimacy that feel vivid yet incomplete. What initially appears as documentation gradually becomes a form of emotional mapping. Rather than reconstructing a past, the work questions how memory is built, repaired, and sometimes imagined.
Installation view: Excess Baggage at Galerie Caroline O’Breen, 2025
The images merge analogue and digital processes. Photographs connected to my family history are reinterpreted through AI and translated into materials such as UV-printed plywood, hand-glazed ceramic tiles, oil paint, and engraved objects passed down through the generations. These materials introduce texture and physicality. The grain of wood interrupts the image slightly, the glaze of ceramic recalls the touch of a photograph handled over years, and the engravings refer to objects that have lived inside the home. Memory becomes something tactile, held in a surface rather than only seen in a picture.
The Gathering, 2025 - UV Print on Ceramic, 7,5 x 15 cm
Through this material translation, the works slow the image down. They insist on an embodied relationship with photography, one that resists a purely digital reading. As the surfaces shift, so does the emotional meaning of the image: fragments of family life, gestures, and inherited belongings become markers of presence, distance, absence, and care. The material processes leave imperfections and traces that feel bodily and imperfect, suggesting that recollection is always partial.
Installation view: Excess Baggage at Galerie Caroline O’Breen, 2025Just Wait Until My Luck Runs Out, 2025 - Engraved silver hand mirror
Across the project, objects from my family circulate almost like characters. A vanity brush, a comb, a mirror, and other domestic objects recur as quiet witnesses to the small rituals that shape relationships. They suggest tenderness and strength learned through everyday gestures, and point to the home as not only a site of belonging but also a space marked by uncertainty, movement, and change. The tension between staying and leaving, between holding on and letting go, repeats throughout the work.
A Dinner, 2025 - UV Print on Plywood - on view at Galerie Caroline O’Breen, 2025A Dinner no. 02, 2025 - UV Print on Plywood
Excess Baggage does not attempt to repair the past or idealise it. Instead, it stays with what remains. The work also creates a space to approach experiences of loss, trauma, and shifting family structures with openness and care. Rather than offering resolution, the project lingers in the desire to be close to what cannot fully be understood. This unresolved longing is not answered but accompanied.
A Dinner, 2025 - UV Print on Plywood
In this sense, the project becomes a way of thinking about memory not as something complete or stable, but as something that continues to shape the present. The works open a quiet reflection on love, home, and the fragile ties that keep us connected, asking how we carry the things that have shaped us, and how they continue to shape us now.
The Palette (Agile), 2025 - UV Print on Plywood, Oil Paint, 80 x 30 cm - on view at Galerie Caroline O’BreenThe Palette (Fun & Games), 2025 - UV Print on Plywood, Oil Paint, 80 x 30 cm