I and not a Seraph was created for Kunsthaus Dahlem in Berlin as a site-specific intervention within a building designed by the architect Hans Freese during the National Socialist period. Rather than imposing a new object onto the space, the work responds directly to the building's ideological weight and my own feeling within it.

The piece was made through a durational process of scratching and scoring the fabric's surface. Instead of leaving a conventional pencil mark, these repeated gestures created scars that altered the material itself, fusing fibres together in some areas while opening gaps in others, allowing light to pass through. The process foregrounds a tension between destruction and creation: the marks are not simply acts of damage but become integral to the fabric's structure, generating new forms and possibilities, both resilient and fragile. As the material shifts between opacity and translucency, rupture and repair, it takes on an almost living quality. The resulting work reflects a quiet, luminous transformation, embodying both vulnerability and endurance. In dialogue with the building's oppressive architectural history, the piece proposes an alternative form of inscription: one in which scars become sites of change, carrying traces of what has been endured while remaining open to new futures.