Since 2018, my practice has taken the form of self-sufficient, sometimes absurd, fictional business ventures. These "businesses" are not aimed at market success, but function as alternative economic frameworks where forms of exchange and dependency can be rehearsed at a 1:1 scale.

The works emerging from them often appear as sculptures, tools, utensils, or consumables. They operate ambiguously between functional objects and speculative propositions, moving between the industries they reference and sculptural traditions. The promise of utility becomes a stage where expectations around productivity and self-sufficiency can slip, fail, or become excessive.

Through these business structures, I examine how labor, support, and dependency are organized within artistic and social communities. Humor plays an important role in the work, but it is never decorative: it is the mechanism through which the work creates friction.

Past ventures include a memorial service for deceased dogs, an artist-led cooperative building swimming pools, a teapot start-up addressing invisible labor, and a tool company engineering somewhat dysfunctional tools for working grandmothers. More recently, Spit-Spirit produces bootleg jenever distilled from chewed bread, and wollamhsraM is a marshmallow cult whose central proposition is that time does not have to move forward: it can spiral, sediment, loop, and overlap, rejecting the logic of delayed gratification that productivity depends on.