Artist´s Book
2025

Hommage à Kaixa takes the form of a book kept inside an archive box from the Biscay Provincial Council, a device of dissident memory that oscillates between administrative coldness and emotional weight, between what is preserved and what is forgotten. Inside, a sound chip endlessly repeats a phrase in Mandarin 概念艺术确实很危险 spoken by a Chinese woman living in Bilbao, who sells Amazon “surprise packages”, whom Matauko employs as objects of oblivion in IYKYK. This gesture transforms the voice into an echo that expands beyond the enclosure of the box, persisting as a tribute to that which resists and remains outside any attempt at assimilation.

38 × 31 × 11.5 cm
13 sec looped recording

Collection BilbaoArte Bilduma
No. Registro: 2025.632.1

Artists in Residence 2024/25: New Acquisitions at
URIBITARTE 40

Video
2024

 A psychogeographic video requiem examining one of the last red-light theatres in Europe, nestled on the border between Switzerland and Italy. Through the intimate reflections of its owner Flavio, we get a first hand account of a place pressed by ever-relentless progress, jeopardizing its continued existence. And yet it exists. A time capsule. A mirage, almost - of hidden desires, nostalgia for days gone by, and resilience, as the ultimate act of transgression. The bittersweet beauty of desperately holding on to something, knowing that your days are numbered. Knowing that, very soon, these things - like so many others - will have become a thing of the past.

Presented at CHIUSO,
part of Microclima Variable closing exhibition,
the XXVIII edition of CSAV - Artists Research Laboratory -
at the Fondazione Antonio Ratti.

Camera © Edoardo Bonacina

Single channel video on MiniDVtape,
loop ca. 3 min

Site-Specific Installation
2022

This uncanny installation was devised by producing a set of critical applications, tools and situations for spatial agency by appropriating space through the dispersion of human saliva. These sculptural gestures—bodily fluid released as mist and a screen displaying magnified saliva—function as exercises in scale, exemplifying the tension between bodily fluids and manufactured devices, aerial circulation and spatial atmosphere, estrangement and magnification. By adopting the language of consumerism and combining it with scientific—or rather pseudo-scientific—visualizations, the work enacts a tactical intervention that engages broader modern scientific and medical discourses on hygiene, discourses that historically produced spatial segregation and continue to do so today. The result is an intimate yet unsettling spatial proposition in which desire, ambivalence, and transgression emerge as emancipatory gestures—acts of appropriation performed through forms
of apparent pollution.

Editorial, Visual Identity, Exhibition
2021

Sandberg Instituut’s Studio for Immediate Spaces spent a week in close contact with the collection and the spaces of Het Nieuwe Instituut. Working collaboratively, the participants identified key documents from the drawings, photographs and models belonging to the archives of Dutch architects and urban planners. They considered how things appear, how they are stored, who collected them and why they were kept and deposited. Finally, they mobilized the documents, giving thought and shape to what they wanted the documents to do differently. The result is an exhibition as a critical documentary, exposing modes of operating on the documents: copying, enlarging, folding, displacing, recontextualizing, deleting, editing, reclassifying, translating, hiding. Within self-imposed constraints, the production was kept to a bare minimum: two walls, one printer, one sound system, one tape roll. Four groups storyboarded strategies for a potentially cinematic space, articulated in four chapters, each linking back to a set of documents from the institute’s collection. Using the archive is not a neutral but a creative act with an aesthetic intention, an audience and a purpose. The exhibition is the means to select, present and create new adjacencies, allowing for new types of knowledge circulation.

Visual identity, Editorial
2021

With "FINALLY, THINGS ARE HAPPENING" Studio for Immediate Spaces (Sandberg Instituut) is proud to present works of its 2021 graduates. Through experimental and material research into the meanings and possibilities of coming together, sharing knowledge, caring for another—be it humans or nature—all works unite under the ambition to create or critically reflect on spaces to facilitate a new sociability. Through various media, ranging from film, performance to sculpture and environment, the works manifest as signs and symbols of a new normal that has changed the way of living together in recent months, creating novel perceptions of space, imagining alternative rituals and practices.
For the past months Reneenee/Maison Descartes and Kristoffer Zeiner gave refuge to the Studio for Immediate Space in times of harsh social regulations. For FINALLY, THINGS ARE HAPPENING Reneenee/Maison Descartes will once again host the Studio to showcase the results of its graduates’ works, which to a large part were conceived and fostered in this magical place.

Featured in Slanted Magazine 40 Experimental Type.

Site-Specific Video Installation
2021

On Piggybacking, Cars and Square Trees is a site-specific installation that explores from a queer gaze the multiple ways in which generic architectural sites, i.e. the carwash, and technologies of movement, i.e. the car, play a role in contributing, sustaining or sometimes subverting the reproduction of socio-cultural values and gender patterns. From a gender studies perspective, the ritualistic process of cleaning and maintaining a car can be seen as a political performance that could be considered a “feminisation of masculinity”, opening a door to a new critical model of masculinity – a so-called ‘caring masculinity’ – which contributes to equalising gender roles and embraces the affective, relational, emotional and interdependent qualities of care.

SEWING MAGIC BUTTONS

Digital Performance
2023

In ancient times, buttons were given special importance. If today for us it is nothing more than a functional element of clothing, for our ancestors buttons were a protective amulet.
The essence of the button sewing ritual is to guide the needle through the process with the desired intention. The button with four holes can be attached with different stitches... The direction of its energy depends on what drawing will result on it. We must not forget that in the magical art of sewing buttons, literally all nuances matter: size, color, shape of buttons, their number and location, as well as the color of the threads and the shape of the stitches that hold the button on the fabric. With the perfect combination you will do magic in a simple and imperceptible way to Muggle eyes.
Not all buttons have the necessary powers, but only the "4-hole" ones. It is also important to take advantage of their magical properties the material they are made of, natural ones such as wood, ivory or natural mother-of-pearl are preferred.

*Click on the buttons

Visual identity, Editorial, Website
2020

The Mauritshuis is a museum located in The Hague, home to various Golden Age masterpieces. The graphic identity was inspired by the monogram created by UNA Designers in 1980. The idea of integrating the letter ‘M’ and the silhouette of the museum’s emblematic façade, was the origin of its development. Helvetica was chosen as a way of reducing the sense of stateliness associated with these kinds of institutions, injecting a dose of youthfulness and modernity instead. The colour palette is characteristic of the Netherlands’ iconic Delft’s Blauw porcelain. All in all, the proposed identity provides an invigoration of a much-respected institution – a way to recognize the museum’s history, while also attracting a 21st century audience.

Want to make your brand connect to people? Brand archetypes are a way to find focus and clarity in your brand positioning. It is based upon the theory that there are universal archetypical patterns underlying all human communication.
Carl Jung translated the theory into 12 archetypes. In 2001 Carol S. Pearson (in her book The Hero and the Outlaw) used these archetypes and turned them into brand archetypes. Based on this theory, I developed this body of work for Morrow.

Visual identity, Website
2021

Courtyard Concerts was an initiative created by a group of talented musicians during the pandemic, where they would travel around the city and host concerts in public courtyards, terraces or gardens, as an alternative way of gathering during the Covid pandemic. The chosen typography as well as the lay-out of the poster are inspired by traditional concert posters, which you can find anywhere in the city. Despite its traditional layout, by using a bold pattern and a vibrant colour, the aim was to grab the attention of passers-by. The oval’s uneven shape symbolises the idea of people getting together in an unconventional way such as a courtyard. The colour orange was chosen for being the dominant colour in the characteristic brick
walls around the city of Amsterdam.

Visual identity, Website
2019

Made in Spain is a multi-disciplinary platform aimed at enhancing the culture of contemporary design and avant-garde craftsmanship in Spain. Its goal is to celebrate and nurture products made by the greatest artisans and designers with international appeal. The identity was created using a simple system of straight lines and colourful dots. The rigid lines serve as a way to express the precision and expertise of Spanish artisans. The dots represent the liveliness of Spanish culture, inspired by the traditional polka dot dresses of Flamenco dancers. Red symbolises passion, while ochre stands for warmth. Univers was chosen because of its versatility and the way its different weights work together harmoniously.

Visual identity, Packaging
2020

Château Margaux is family-run vineyard in the Bordeaux region of France, whose wines are known for their fruity flavours. The identity was inspired by the work of French artist Daniel Buren, consisting of regular, contrasting-coloured stripes. A custom coding system was developed where different colours correspond to a different appellation level for each wine. As a way to grab the consumer’s attention, the text on the label is intentionally small, prioritising the coloured stripes, inviting individuals to get a closer look and stand out amongst other wines.

Editorial, Visual Identity, Exhibition
2021

Following the Bauhaus Dessau corporate design guidelines, graphic elements were designed for Vegetation under Power exhibition.The Kreismuseum Bitterfeld, Bitterfeld’s county museum, contains a black box with herbaria dating from 1931. This collection, compiled by botanist Hans Weber, is an inventory of the flora gathered in the nearby Goitzsche region, a forested area of floodplains. Taking the herbaria as its starting point, Vegetation under Power interweaves stories about Bitterfeld’s energy-defined landscape with the modern legacy of the Bauhaus. The exhibition presents a landscape formed by 11 constellations: Poetics/Politics, Evidences, Sediments, Traces, Socialities, Recordings, Imprints, Extractions, Un/rootings, Stewardships, and Annotations, linking the plant collection to public debates on forest dieback, nature conservation, air pollution and growing environmental awareness, highlighting the relationship between ecology and economy. Using archival documents, interventions and field studies, the transformation of nature is related to the history of the Bauhaus.
The dynamic interplay of these facts gives rise to questions about how we care for and preserve landscapes that are seemingly irretrievably lost. What does it mean to care for post-industrial landscapes? And how can we push for the renaturation of our environment today?

Photos © Thomas Meyer
 

Visual Identity
2018

Created the corporate identity for Columbia Road Market - a market composed of sixty independent shops, galleries, and its famous flower market on Sundays. The identity was based around the circular shape created by insects when eating leaves. This playful approach became the defining characteristic of the identity, which was translated into a customised typography and brand elements. The colour palette was chosen with the idea of reinforcing human beings’ connection with nature. The clean features of the identity serve to provide a moment of calm - a welcome escape from hectic urban life.

Packaging, Illustration
2023

Commissioned to design a kosher Spanish wine label, to be sold in Israel. Sefarad is the Hebrew word for Spain, and the butterflies featured in the design represent the diaspora of the Jewish people. The butterflies were created by desintegrating and choosing elements from Dick Bruna’s illustrations found on his personal website – the globally acclaimed illustrator and father of ‘Miffy’, the most famous bunny in the world. These replica images allowed me to create a digital collage, and this combined with Eastman Condensed led to a unique work, which doesn’t follow traditional wine label conventions.