A Home (intimacy surveilled), 2020.

Gare du Nord -2, Brussels, BE.
Video installation, plaster, geuze, carton, beamers.

A Home brings together sculptural casts of domestic furniture and a four-channel video, recorded inside and outside two different homes. The sculptures—made of plaster and gauze—resemble a chair, a bed, a wall, and stairs. But their proportions are slightly off. They don’t recreate furniture so much as echo it, distorted by the limited vision of surveillance footage. Based on the camera’s partial view, these are disinformed forms that carry errors of mediated observation. A home remembered through its blind spots.
 
​The projected videos offer four points of view—interior and exterior, observer and observed—raising questions about real-time surveillance and the tension between vulnerability and control. Family members appear unaware, distracted, moving in and out of frame. The artist remains absent but directs the gaze. What is the “real” time in the video? Who activates the space by entering it? Can editing be an ethical act? These are portraits made not by likeness, but by delay, distance, and discomfort. 
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The camera’s static gaze turns the everyday into something uneasy, familiar, but off-balance. Freud wrote that the uncanny emerges when what was once known returns as strange—in this project, this discomfort is emphasized. The furniture appears to be present but empty; the rooms are populated but inaccessible.​