CRAFT INTELLIGENCE

Where does knowledge reside when it is distributed across bodies, materials and generations?

2025-Ongoing

FROM MAKING TO DISTRIBUTED INTELLIGENCE

My research into craft began with material processes, but gradually shifted toward a broader question: where does knowledge reside?

During my research with Manufactures nationales in France, I encountered workshops, archives, techniques and systems of transmission across different craft environments.

I became interested in craft not simply as technique, but as a form of distributed intelligence—knowledge generated and sustained through relationships among bodies, materials, tools, environments, institutions and generations.

KNOWLEDGE IN THE BODY

Much of craft knowledge cannot be separated from the body that performs it.

Pressure, rhythm, timing, resistance, repetition and judgement are learned through doing. Tools and materials do not simply receive instructions; they participate in shaping how knowledge is understood and passed on.

KNOWLEDGE IS NOT ALWAYS STORED IN A DOCUMENT.

SOMETIMES IT IS STORED IN A RELATIONSHIP.

TRANSMISSION

Knowledge changes as it moves.

Knowledge is transmitted not only through instruction, but through observation, repetition, correction, shared time and material practice.

Each transmission carries continuity, but also transformation. What is passed on is never simply copied; it is reinterpreted through another body, another material and another moment.

LINKING SERIES

Rather than reproducing the techniques I encountered, I began creating links between different systems of knowledge, objects and everyday life.

In the LINKING SERIES, materials and objects from different contexts are brought into temporary relationships. What interests me is not their similarity, but what becomes visible when their histories, functions and cultural meanings meet.

LOVE WEAVING LIFE, LIFE WEAVING LOVE 2026

Details, LOVE WEAVING LIFE, LIFE WEAVING LIFE

LOVE WEAVING LIFE,
LIFE WEAVING LOVE.

LINKING SERIES, 2025-2026

At Le Puy-en-Velay, I encountered bobbin lace as a system of coordinated gestures, tension, rhythm and accumulated knowledge.

Rather than reproducing its traditional form, I entered its working logic. Copper wire replaced thread, while everyday objects became bobbins, allowing an inherited system of making to generate another material language.

DISTRIBUTED AUTHORSHIP

SIGNATURE

LINKING SERIES, 2025-2026

87 PEOPLE
27 WORKSHOPS
87 HANDS
87 SIGNATURES

I invited 87 people from 27 workshops to leave their signatures on a single Sèvres porcelain object.

Each mark remained individual, yet the final work could exist only through collective participation.

SIGNATURE became a record not of a single author, but of a distributed community—one in which knowledge, identity and cultural heritage are carried through bodies and relationships.