The Project.

Performative installation — in development

The Project is conceived as an autonomous performative work for gallery or museum context.

A wall textile of leather and post-colonial gold holds one hundred rings. Each ring must be physically cut loose by the collector. The act is visible and irreversible. Acquisition becomes incision.

With every removed ring, a void emerges. The work diminishes — and simultaneously intensifies.

The pricing structure follows its own internal logic, echoing the rhythm of halving models found in contemporary digital economies. As the object decreases, its value rises. Scarcity accelerates. Time becomes capital.

The mechanism resonates with present-day systems in which reduction and rhythm generate value — from natural resources to digital protocols. What is acquired here is not merely a ring, but a position within a diminishing system.

Those who cut early assume risk.
Those who cut later pay for certainty.
Each decision rewrites the work.

The Project exposes an uneasy parallel between colonial extraction and modern speculation. The impulse to possess remains unchanged; only the system has evolved.

Here, greed is not framed as a moral failing, but as a driving force. The collector is not a spectator, but a participant.

The work does not end when all rings have disappeared.
It ends with the final act.