ENG

A Work to Sow the Spring, 2026
Edition: 1/9
Materials: Embroidery in plant-dyed cotton thread and fabric, dandelion seeds.
Dimensions: 18 x 20 x 3 cm

Spring is not a resolved state. It is not fullness, nor is it harvest. It is a threshold. It still carries the chill of winter and is not yet summer. It is an unstable condition, yet it is precisely within this instability that something can begin.

This work takes the form of a book. It consists of nine pages of green fabric, dyed using traditional plant-based techniques. On each page, the word for “spring” is embroidered in a different language: Chinese, Italian, English, German, French, Russian, Hebrew, Ancient Greek, and Finnish.

Here, language does not serve to name. It is slowed down, traversed by needle and thread, rendered irreversible. Writing becomes a gesture akin to sowing. Each page contains numerous dandelion seeds. The dandelion can return even when it seems to have disappeared; it does not coincide with a single cycle but reappears over time.

The book, therefore, does not only refer to spring, but contains within it the possibility of return and multiplication. This book does not ask to be read; it asks to be sown. From the moment of sowing, the work is no longer under the artist’s control. It is entrusted to time, to matter, and to the possibility of failure. The work includes a sowing contract as an integral part of its structure. The signature marks the assumption of responsibility and the beginning of the process.

In addition to the book-form editions, the series includes 81 individual works. Each piece maintains the core structure of the project: embroidery on plantdyed fabric, housing dandelion seeds within its layers.

In this iteration, the work fragmentizes and multiplies. Each exemplar is a unique piece; beyond the natural unpredictability of plant-based dyeing, various textures and weights of fabric were deliberately selected to provide each work with a distinct tactile identity and visual depth. The series encompasses the nine languages of the project: Chinese, Italian, English, German, French, Russian, Hebrew, Ancient Greek, and Finnish.

These works are not intended to be read, but to be sown. Consequently, their acquisition is contingent upon the signing of a Sowing Contract—a gesture that marks the transfer of responsibility from the artist to the possessor, entrusting the work to time, matter, and the possibility of failure.