“Naming–value” carries a double meaning here: something that deserves a name, and the name itself as a carrier of value.

Because I draw the oeuvre itself into transformation, even preserved drawings are no longer dead objects that “gain value” once a signature is added. I want to make that value-claim visible: the small ego-thing that artists (and the art world) attach to an image. A famous artist’s signature on a weak drawing can suddenly make it worth a lot — that mechanism interests me, and I distrust it.

The humor is lightly cruel and ambiguous: the pin doesn’t only strike the butterfly, it also hits my ego. I destroy a drawing, yet at the same time the opposite of what you’d expect happens: by cutting and removing with intent, the material comes alive again. The “ego” pupates into a butterfly; the rest of the drawing migrates to another support, burns up, disappears, or returns as photo, film, performance, or leftover form.

Each value-butterfly on this page is a snapshot within a larger ecosystem. You’ll see process photos of its making, a photo of the butterfly in the insect box, and also the original drawing — as source material that may already have changed, been absorbed, or transformed.