Thought’s Cradle

Interim Exhibition for Goldsmiths MFA
2025

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The Placeholders

Collaboration with Shai Rapoport and Julie Stamm
Performance
15 min.
2025

The Placeholders is a live computational dance performance exploring how meaning is made in an age of information floods, AI images, and instant consumption. On stage, three performers rotate between dancing, filming, and extracting stills from the live feed. Each still is projected and juxtaposed with an image from a curated dataset, creating dual-image shifting backdrops. Audiences and performers alike are drawn, almost compelled to interpret and make sense of this playful yet fragile apparatus, as choreography emerges from the negotiation between living bodies, technology, partial representations and the elusive sense of narrative. In this process, illiteracy becomes a prominent part of the show- reading and learning how to read at the same time, and practicing agency and control while risking seeing what we conjured beautifully collapse and rebuild, over and over.

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Stubborn Whim

Exhibition
The Pits, Somerset House
2025

This exhibition was concerned with the way consideredly mundane acumulations and seemingly ubiquitous environments envelope our experiences of memory, labour, and self. In trying to create small worlds within our medium surroundings, there can be the happy occurrence of slipping into a larger picture. We wish to summon the ghosts of sober apathy and errant ambition into this fluid atmosphere of a vessel within a vessel within a vessel. Somewhere in-between, and intersecting, lays the start of something forwardly grand, while somewhere on this route holds an expression of Icarian failure. The culmination of these elements encapsulate our collective intentions, haunting desire, lingering engagement, and fallow states reimagined. Apart and at once.

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Example with a Cross

Interactive physical computing installlation
Plywood, redwood, PC, microcontrollers, distance sensor, bluetooth speaker, motor, pullies, rope, fabric
2024

Viewers are invited to enter a big cross-shaped booth, and put their face in the cut out hole. Once inside, a joke only they can hear is whispered in their ear through a hidden speaker. At the same time, they are visible from the outside, and so are taking turns being the face of another joke. It is the same automated joke, enacted by a different person, again and again.

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Untitled (Inverse)

Sculpture
Plywood, sapele veneer, emulsion, photograph
size
2025

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Watching a Suicide in Slow-motion

Interactive video installation
Monitor, PC, camcorder, tripod, table
2024

This is a conceptual art piece revolving around the ethics of watching and the perception of one's body within digital representations of space. The idea for the work came from a conversation with a classmate, who asked me about the political atmosphere in my home country. My answer was "It's like watching suicide in slow-motion". I wanted to explore the notions of activeness and helplessness in the act of watching horrible events unfold, knowing what is going to happen and not being able to prevent it. I was particularly interested in the way technology mediates this experience, allowing us to see remote events but not to intervene.

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Babies and Detectives

Zine
13 p.
Carbon copies on wax paper, linen
2022

A zine alternating between images of babies and of detectives.

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WWIII

Video Essay
5 min.
2024

A video essay concerned with embodiment in computerised space and its consequences on ethics.

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A Real-Life 3D Cube with Ornaments

Sculpture
MDF, Sapele veneer,
64 x 64 x 64 cm
2024

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Lia Bergman