The work occupies a room with walls made of cloth and plaster where the mind filters our body movements and the body interfaces with what it encounters. The partitions along with the floor make visible but inaccessible rows. The viewer moves around while they stay anonymous to the person on the other side, other peoples’ presence is only felt by the shoulder bump visible while their shoulders brush against the walls and few particles of the wall get transferred to the person’s skin or clothes and that they carry out with themselves. Walls are lined with collected flora which are native to the land. One twig collected each day and kept inside, marking the passage of days, the duration of the making of the space they stand in.

The installation interrogates the sanctification of domestic spaces, challenging their perceived ideals. Drawing on literature and history, the work reflects how interiors—both physical and cultural—shape identity and perpetuate normative roles. Yet, it also proposes that these roles can be dismantled, allowing for an introspective reimagining of self. The body becomes a site of negotiation, carrying marks of resistance and transformation, unapologetically claiming space.


The work visualizes the conflicting notions of home and self, within domesticity and question the presumed stability of home and interiority, exploring how these constructs are layered with histories of power, denial, and introspection. It is an attempt to create a space where the boundaries of self and surroundings dissolve, inviting viewers to confront their own place within these narratives, with the prerequisite knowledge of humans not being the conquering hero’s.

The Intertwined History of Interior and Interiority invites viewers to step into these layered narratives and confront the tensions between freedom and confinement, visibility and erasure, fostering a dialogue about the transformative potential of questioning and reclaiming one’s interior and exterior worlds.