Leisure is resistance, but I work out of love
Objects, paintings, mixed media, 2022. 

In the "Leisure is resistance, but I work out of love" cycle, choosing a kitchen napkin as the main artistic motive and material, the artist plays with the notion of symbolic, pragmatic and market value. The cycle consists of two parts: objects made out of kitchen napkins ("Resistance") and oil paintings which mimeticize the design of the napkins ("Meditation").

Dried and glue-stonefied napkins become objects in which the obsolescence of the item becomes a point of (self)identification. Coming from feelings of tiredness, exhaustion and her own tear, she sets the dried and crumpled hanged napkins as the symbol of precarious workers of modern capitalist society.

The glue makes the napkins solid and resistant. Giving them a symbolic value, it saves them from a rejectful-death, as well as herself, an artist and precarious worker who is placed as a resource of her own obsolescence. 

Painting the design of the napkins, the artist problematizes the phrase "art is relaxing, art is therapeutic". This effort to make art be a therapeutic, meditative practice, otherwise everything but true for her, results in kitschy paintings that border on amateurism.