Richard Long received an honorary doctorate from the Academy of Art in Katowice, Poland, and in honor of his work, curator Marta Lisok organized the exhibition Adherence, featuring work by Richard Long and work by fourteen other artists, including my work.

In the exhibition, I showed the work Stones, among others. My grandmother asked family relatives, friends and acquaintances to bring her small stones from their travels. Slowly she built up a collection from all corners of the world – each stone came with a handwritten note saying the approximate location, giving the collection a touch of intimacy: each location has been scribbled down in a distinct handwriting hailing from a different body. I attached this inherited collection of stones with colored threads to natural hand-dyed textiles, which can be rolled up (and carried). Handwritten notes with locations are sewn – like labels – onto the textile. Working with these stones and notes is working with time sedimented into material and it is a way to be proximate to those who handled the stones and notes in a past.

I also displayed two Macrobes, a series of wall drawings and sixteen Leaky Bags with hand-embroidered performance scores and the poem leaky spores & other forms of morphoses written by Roy Voragen.

Curator Marta Lisok wrote about my work:
The artist is interested in the concept of porosity. Whether they are Leaky bags (2023 -2024) that initiate leaving traces in the form of seeds, bags for which she used fermented canvas, buried for several months in the ground, partially decomposed by snails, beetles, spiders, centipedes, or Microbes (2023) utilitarian objects in the form of a costume that encourages the abandonment of the human shape and temporary transformation into a microorganism, the artist delineates dense networks of relationships between bodies and materials in her works. The performative nature of these objects is crucial. The need to set things in motion, which in their trajectories describe specific places and the weave of factors that build them, as in the work Stones (2024), which is an activity with a collection of stones that were brought by relatives and friends of her grandmother from different parts of the world. Sewing them onto fabric, Isolde Venrooy placed a caption next to each one indicating where the stone came from, thus posing a question about both them and her own history as heiress to this collection.