Which topics, questions or occurrences you’re currently interested in?

Among others, of course, the whole virus thing. What people think and fear, how behaviours are adapted, what covid-19 actually does on top of being an illness. So far I do not feel directly affected by it, but it is looming, messing with liberties we took for granted. Quarantine feels like an anti-thesis of globalisation, of free trade and movement. It evokes memories of the daily grind in Oran, the Algerian city where Camus’ “Die Pest” takes place.

Your work often consists of ordinary day-to-day objects. What fascinates you about these objets trouvées?

Not only the objects, but the ideas that went into their design and production. The gestures we perform with them, as well as the interiors in which those incidents take place. Generally, I am interested in the relation between structures and habits. One shapes the other, or vice versa, a reciprocal but almost invisible process. Often in my work, I intervene in this spiral and the modification of mundane objects being one way to do so.