2012–2015

(co)ORDINATED COPYRIGHTS

This series operate as a sustained investigation into ownership, authorship, and the construction of subjectivity through borrowed forms. The title itself performs a double movement. "Copyright" invokes legal protection, originality, and claims of possession; "coordinated" invokes geometry, mapping, and systems of relation. Together they suggest that identity is never singular but assembled through coordinates – historical, cultural, and symbolic.

Across the series, images are arranged along a persistent vertical axis. Geometric diagrams occupy the upper register, garments and bodies the centre, while chemical or textual formulations appear below. The works read less as collages than as propositions: systems through which bodies become legible and culture organises itself.

The fashion archive occupies a central role. Dresses, shoes, and garments from different decades appear detached from stable bodies, suspended between mannequin, memory, and citation. These historical forms of femininity are neither celebrated nor rejected; they function as carriers of cultural inscription. Clothing becomes an archive through which bodies are imagined, regulated, and inherited.

Mathematical figures recur with equal insistence: Cartesian coordinates, circles, geometric constructions, and spatial diagrams. These systems do not merely illustrate rational order; they intersect with intimacy, desire, and embodiment. Works such as Cartesian Coordinate System: Real & Imaginary Kisses suggest that affection itself may be mapped, measured, and abstracted, while remaining irreducible to those operations.

This series operate as a sustained investigation into ownership, authorship, and the construction of subjectivity through borrowed forms. The title itself performs a double movement. "Copyright" invokes legal protection, originality, and claims of possession; "coordinated" invokes geometry, mapping, and systems of relation. Together they suggest that identity is never singular but assembled through coordinates – historical, cultural, and symbolic.

Across the series, images are arranged along a persistent vertical axis. Geometric diagrams occupy the upper register, garments and bodies the centre, while chemical or textual formulations appear below. The works read less as collages than as propositions: systems through which bodies become legible and culture organises itself.

Seen from the present, these works appear strikingly prescient. Produced before contemporary debates around generative AI and dataset culture, they already ask what it means to create from borrowed images, inherited forms, and collective archives. The works do not oppose originality and reproduction; rather, they propose that subjectivity itself is composed through acts of citation.

In this sense, (co)ORDINATED COPYRIGHTS is not simply a reflection on image ownership. It proposes a broader condition: that selves, like images, emerge through networks of relation, attribution, and exchange. Copyright is coordinated because culture is coordinated, and because identity itself is assembled from what has already been given.