About


I kroywara I

I use the arts, to perform and define interactive philosophy. This concept of limited damage with long-term effects relates to the culture/nature synergy; a process that follows three exhibitions with focus on dialectic. First, in 2010 as contrast. Second, in 2012 as harmony. Finally, in 2020 as synthesis. In general, my projects reflect a pedagogy as conversation between process, others, and self to which I refer to as I kroywara I: I walk with you, you walk with I. This incomplete sculpture relates to a discourse that aims to ‘rewrite’ violent in the focus on power through creative documentation as encounter with the Other – which can lead to pragmatic, emotional, and ethical tension. To transform this tension into strength, I focus on the communal. 

My inspiration comes from the term and practice ‘koiwara’. This technology of the Kaliña, an indigenous community in Suriname, is a ritual in which fire is used in agriculture processes. First, for the general preparation ‘moshiro’, that involves everyone. Thereafter, ‘koiwara’ follows – a family ritual executed by mothers and children, in which wood piles of insufficiently burned tree trunks and branches are re-burned. Inspired by event’s significance to nature, culture, and networks, I translated ‘koiwara’ into I kroywara I: a performative structure that entangles a diversity of ancestral technologies in a violence/strength relation. As ancestral technologies, I refer to knowledge systems known as Native American, African, and European traditions. But I am specifically interested in hybrids such as creole and indigenous, which in the context of my creative practice is the performance of cyborg-feminism. This third, “It” or “Other”, is the process that exists in relationship to self and other.

On one hand, I use art installations to document narratives on external level. On the other, painting, paper-cutting, drawing, and recording depict internal conversations. By combining the external and the internal through research, I kroywara I looks at social processes related to civic participation, personal agency, and political dialogues.


“To die, is to become invisible.”

Dying for Ideas: The dangerous Lives of the Philosophers by Costica Bradatan