Monika Emmanuelle Kazi

JF

As you describe what constitutes the everyday and how it becomes imprinted on our bodies and minds, I'm reminded of your use of everyday objects throughout your work. In what way is this idea related to the iso-object within interior spaces or built environments?

MEK

The iso-object was the first idea that allowed me to develop a deeper thought process in my practice. While I'm starting to move away from this form, it's still important to understand the early stages of my work. The object functions more as a tool to examine the actions of everyday life and how they manifest in our bodies. Much of my work revolves around memory, and I believe memories are deeply influenced by the spaces our bodies inhabit. To me, memory and the body are inseparable.

At first, my work explored how the human body can become something computable—like machine learning—shaped by the spaces we occupy and the repetitive movements of daily life. These repetitions create a type of memory, one that's tied to consistent gestures, attitudes, and even beliefs. That's how my work began: realising that every day isn't just embedded in objects but in gestures, movements, directions, and routines. Somehow, questioning everyday life became a habit of mine, particularly within the context of interior spaces. I often oscillate between my personal experiences and larger, collective histories.

But I think what defines my work more is the way I install and arrange things. What links these works together is their connection to themes of education—not just formal education, but taste as evidence of education in one's environment. Before making art, I studied architecture; this influence is evident in my work. In architecture, creating a scenography or setting that forms a path through the space is essential, helping them understand the work within space. I try to create an atmosphere—a sensation—something in the viewer. For example, nostalgia can be used in this way; it's not just an object but a feeling.