ICUL CTION Special Edition ART A C o n t e m p o r a r y A r t R e v i e w Special Issue wrote. I embroidered the words on four linen towels I stitched together. It possesses qualities of both a gown and a banner. Although loosely tailored and draped, when placed over a dress form, the piece becomes physically restrictive since its arm holes are sewn shut. “Anguirus” and “Zigra” were both inspired by Victorian bustles and Japanese Kaiju films of the 1960s. Your artistic practice offers body modifications and transformations. Many artists express the ideas that they explore through representations of the body and even by using their own bodies: how do you consider the relation betweenthe ideas that you aim to communicate andthe physical act of creating your artworks? Enne Tesse: For me, the physical act of creating relies strongly on the participation of the hands and fingers. I produce my work by sewing, folding, cutting, stuffing, and knotting therefore using my hands laboriously. I am self-taught in these techniques. My pieces offer body modifications and transformations that consequently result from properties such as distortion, imperfection, unevenness, irregularity, and crudeness. You are an established and awarded artist and over the years you have exhibited your work nationally and internationally, including solo and group exhibitions in museums and galleries in the United States and Japan: how do you considerthe nature of your relationship with your audience? By the way, as the move of Art from traditional gallery spaces, to street and especially to online platforms — asInstagram andVimeo— increases, how would in your opinion change