Coming from a background in theatre, I have learned to place the body and its expression at the center of my work.
When a body is displayed in the context of a gallery space, it becomes an exhibited object. This relocation allows its existence to be perceived as pure sculptural material. In my installations, it is not always clear whether the body is alive, or whether its matter belongs to the organic, geological, or chemical realms.

In my installations and performances, the gallery space becomes a stage. Like characters in a scene, grotesque, human-like sculptures emerge, or viewers themselves become protagonists in surprising social situations and visually powerful narratives that question our perception of reality.

They encounter the spheres of the uncanny: liminal spaces, time standing still, inversions, dolls—symbols of our departure from the old and our movement into the unknown. For me, there is a joyful freedom in recombining reality, breaking free from categories of good and evil, organic and artificial, human and non-human. This playful approach reminds me that the world can always be read in entirely new ways.

I believe that by looking closely at the human body—its dependence on and entanglement with its environment—we can confront ourselves anew with its mortality and fragility. This, in turn, fosters a humble awareness, urgently needed in a time when humanity must accept its oneness with the systems of nature.

Lili Süper