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During an experiment with textures and surfaces I accidentally made the print which revealed the amazing story of the creation of the Rift of Regrettable Decisions. I fine-lined it, so that everyone could see what I was seeing, and turned it into a wonderful A3 scroll publication, with the poster of the Battle on the one side and the story on the other! More prints and stories will follow soon and will also be available to buy.
Before you read the story, look at the wonderful animation made by the multi-talented Jon Miller (who wrote the music for "Ways In and Ways Out").

The Final Clash The battle of the Mighty Giraffe and the Witch of Bubbles took place in the In-Between Universe, at the extreme upper left corner of the Trentulon Galaxy and didn't come as a shock to the denizens of all the twelve kingdoms of the eight known dimensions. It didn't shock them, as they had been expecting it for some time, but it did shake their planets, that were hit by unprecedented earthquakes that lasted a millennium. Before this catastrophic and monumental battle, for which songs were sang and tomes were written, the Mighty Giraffe and the Witch of Bubbles used to be best friends. No one knew who started the fight or even what the fight was about, but of course everyone had their theories. The two of them had stopped talking either to each other or in fact to anyone, consumed as they were by their mutual hatred. There were 6128 different rumors and 404 legends circulating in the 256 planets from which perhaps only the testimony of the United Archivists of the Twelfth Kingdom carried some credibility: They maintained that the quarrel began over qwertubraes, a board game of unprecedented complexity, involving six hundred dice, three gravitational anomalies, and a rulebook written in a language that actively changed its grammar every seven minutes. According to them, the argument had escalated when the Witch tried to summon a bubble to stabilize Space-Time Column G, and the Giraffe accused her of cheating. Unfortunately, even this account was considered unreliable, as everyone knew how fond the Archivists were of qwertubraes and how they tried to promote it with every chance. But everyone agreed on one thing: over time the hostility had become so intense that stars dimmed when the two passed each other in the sky, and entire planets pretended not to be home when they approached. And while this feud continued in this passive-aggressive state for centuries, it was during one chance meeting — or was it fate? Not even the Wise Ones can distinguish between the two — that a slant look brought momentum (and in such cases momentum historically never ends well). So came the Final Clash, which is how the battle of Mighty Giraffe and the Witch of Bubbles would come to be known. The Final Clash folded reality and hiccuped time, and led to the creation of the Rift of…
When mistakes do not cause damage, they open unexpected paths. Those small slips of intention are full of rare beauty: They are the generative equivalent of losing your way in a city that you know. They carry a sense of liminality, a refreshing unfamiliarity, eventually the thrill of what comes next, provided that you can let go, even for a while. Like the city, the machine becomes a co-author of a different story. Digital tools invite precision. We specify formats, destinations, and parameters, expecting clean execution. Yet when something misfires the logic breaks open – accident and misinterpretation become collaboration: machine and human co-create something neither could have predicted or done alone. A transcription system, when fed the wrong input, invents. It strings together words that produce or mimic meaning. What begins as failure becomes poetry. An OCR, when it fails to recognize the alphabet of a given text, replaces it with other symbols, that can be observed and admired separately from any possible meaning. Errors, deviations from the plan, and accidental artistic results: Photos taken by accident
Stickers created by accident Asemic language created by OCR
Transcription system errors due to wrong language input: [a] original text [b] correct translation [c] error
Image from a video after an ffmpeg command ran without destination
We spend so much of our time trying to avoid mistakes – in speech, in text, in code – we dread making them, and we are often judged and scolded for making them. Yet the most memorable discoveries often happen when control is lost. When we lose orientation, we see differently. A misaligned photograph may reveal a new composition. A broken command may expose a hidden pattern. An algorithmic confusion may give us fresh poetry. To embrace error is to suspend mastery. It means allowing the system – technological or personal – to surprise us. It’s a form of trust: a willingness to let meaning unfold rather than dictate it. Getting lost, whether in a city or in a sequence of commands, restores our capacity for wonder. It reminds us that not every route must be efficient, not every result must be correct. Besides, an error is also a performance, a one-time act of deviation that can’t be rehearsed: a resistance that you usually only find in improvisation, and this improvisation can’t be planned, predicted, packaged, or monetized. Its value lies in its singularity: once recognized and repeated, it ceases to be error and becomes style, code, or pattern, even when the results differ. This is not necessarily a degradation but a transformation. The raw accident becomes a method, the surprise becomes craft. In a world obsessed with optimization, the true mistake is still one of the few gestures that escape design. After all, perhaps the error is not the deviation, but the plan itself, a breaking of the illusion that outcomes can be perfectly engineered. Maybe we need to lose our way, again and again, so that the world can reappear…
In September I launched philomuse. It is a project, an initiative, a hybrid, a proposal. I wanted to combine knowledge, desires, values, the inspirational things I've seen and learned during my studies and my professional life. Philomuse is very ambitious in its goal, which is to connect creativity, learning and community for anyone interested, but it is also an expression of a trend that wants the arts to be socially engaged, and which has contributed to the rising phenomena of the workshop and the participatory art project. The focus of philomuse is rather cultural than purely artistic, however it dares to claim its presence within both worlds. Besides drawing inspiration from the latest models, it allows me to combine diverse skill sets that I have developed in the last two decades. How will it be received? Will it be successful? What will my next steps be and will I manage to overcome my own limitations? Are the conditions right and what kind of audience will it reach? I can only dream of it as something that will grow roots and flourish in time.
Between September 2023 and July 2025 I studied for an MFA. When I started this study I was 41 years old, with three jobs, a young child and a busy, somewhat messed up life. My creative rhythm, as well as almost any other set rhythm I might have had up to that time, was disrupted, and most works that came out during this period were not products of the pure joy of making (one day we'll talk about the process as well as the outcome of this study). However, there were those moments that somehow slipped through the fingers of institutional creativity and then several little projects appeared. However, because they came to life in fragmented, seemingly unrelated moments, I failed to see them as a whole and I also failed to see from the start their immediate connection with the topics, materials and methods that I chose for my 'institutional' projects.
Self-portrait was the first one of these side projects. It came to fruition during a ceramics workshop around Halloween. I decided to use acrylics and varnish (nail polish) instead of glazing it. The topic of identity, stereotypes and gender roles, that would later emerge in my graduation project, as well as masks as a medium, would only become concrete about a year later in my practice. Picnic was a child of found objects. The discarded, the every day, the unfitting. From the wooden board to the plastic threads, all objects in this assemblage are items that would have otherwise ended up in the trash, which was also meant to be a performative building element that would shape the sculptures in identitours. Wall was the last one. The bold color palette is there, as well as the found objects. Underneath, on the found canvas, you can see parts of an underlying painting of a woman. But it's not a message of despair. This wall is a live wall, a lived wall, against the sterile white of decorum, and is in fact a happy expression of that woman. Looking back, those choices I made unconsciously were expressions of and foreshadowed the concept of virtuality, that I also embrace in identitours. It seems that there is always a little bit of us in everything we do, one way or another.
My master's thesis, connected to the graduation project "Identitours": Shifting Identities
From the Introduction:The narrative The text examines how identity is shaped, while it presents the process of subjectformation as a constant negotiation with external forces. How do we come to knowourselves when the terms of self-definition are not entirely ours to begin with? Isthere a core, an ultimate self that we can reach? This project aims to show that identity is not fixed, but layered and shifting, andthat while categories, such as gender, age, and motherhood, operate as structuringforces, we can resist binary oppositions and pull towards multiplicity, using thepotential and the generative qualities of language. Person and pronouns change constantly in the narrative: to what extend do genderand grammatical number dictate our understanding of the story? Semantic fluidityand shift, resistance, and the pull towards certain word clusters are battlefieldswhere meaning and identity are resolved and at the same time created, in parallel.Interactivity and the social dimension are emphasized in the story as essential forproviding affordances that help us move away from unconstructive polarities. The thesis There’s a methodological ambition here: Phenomenology, linguistics, narrativepsychology, and social theory come together in a hybrid approach that performsthe complexities of identity through form. The thesis has developed organically from annotations of the text and functions asa critical apparatus, an inner dialogue that shapes the way the story is understood,reinforcing the idea that meaning is constructed in layers, that identity is alwaysin negotiation between text, interpretation, and context. Writing becomes arecursive system, a form of computational poetics, self-examining and self-modifying,shifting meaning through time and perception, mapping how identity is bothemergent and imposed. The arguments go beyond explaining, to enacting theinstability of meaning and the fluctuation of categories. Fiction and critical theory intertwine in a layered approach, in a meta-text thatdoes more than narrate: it dissects, performs, and destabilizes notions of identityand meaning-making, offering both an embodied experience (the protagonist’sjourney) and a meta-awareness of the forces at play (the thesis).