In this installation I personify the life of a motionless and paralyzed insect trough knotting my body with ropes and bamboo branches. Doing so, I become a compulsive part of anthropological research, collecting, homogenising and presenting us proudly behind a glass box in a museum. The constant change through drawing embodies my inner contemporaneity and queerness.

The imagery created through this reflection demonstrates a subjective resistance to mainstream, normative thinking.

In this series I used black ink to mirror print parts of my body, such as my hands, fingers, ears and genitals. These prints, which I made in large format on silk point to an entomological collection that examines the relationship between insects and humans. I meticulously dissect my body with a thin pen on paper, overdraw and redefine its shapes. I draw the state of being rejected as an object of disgust. On the other hand, there is also an element of glory in the fact that it is always associated with the fear of non-humanity.

My body and identity are in constant motion. This is the only thing I can find after years of searching for a reference to the topic of Roma resistance. My identity has no significant ethnological attributes and I distance myself from previous anthropological research.

I don’t emigrate, I don’t assimilate, I don’t integrate. If you want to identify my fingerprints, you have to go through my Insectopia.