Curating is an act of inquiry. To me, curating is not a passive act but an active verb​. It involves weaving artworks, ideas, and public engagement into a cohesive dialogue that extends beyond ‘presenting artworks.’ It seeks to prompt critical reflection and community participation. This practice embodies the educational turn, wherein exhibitions become platforms for discourse and shared learning​. Art and curation merge as complementary forces that probe cultural narratives, offering space for transformative thought and collective interpretation​​. My approach to artistic research embraces this philosophy, situating art as a multifaceted method of knowledge production. In the contemporary creation and exhibition landscape, art could also be re-envisioned not as a static product but as an active entity. In this space-place, inquiry and creation meet in continuous flux.

Teaching is learning, learning is doing, engaging, experimenting, failing, and continuing doing. In art practice, as in art learning, the process is as crucial as the outcome. This resonates with John Baldessari’s reflection that while art cannot be taught in the conventional sense, immersion in the practice offers invaluable insights​. This notion underscores the importance of the 'in-between'—that fertile ground where ideas are tested, methods adapt, and meaning evolves​. For art to happen, artists need the means to create: time, space, materials, peers, history, theory, and feedback. Ultimately, I believe that artists seek ways to connect with others and share their experiences about the human condition through their art.

The intersection of exhibitions and educational events provides a fertile ground for knowledge production, transforming these spaces into dynamic sites of inquiry and exchange. Exhibitions are not merely displays of artistic production; they are platforms for engagement, where art serves as both the content and the context for critical dialogue. Similarly, educational events embedded within exhibitions encourage active participation, questioning, and reflection, creating opportunities for shared learning beyond the gallery walls. These spaces become environments where knowledge is not simply transmitted but co-created, opening a deeper understanding of our world's cultural, social, and political narratives.

By framing exhibitions and educational events as sites of knowledge production, we are invited to rethink the roles of artists, curators, educators, and audiences. How do these roles overlap and evolve in spaces where inquiry and creation are in constant dialogue? What are the limits and possibilities of using art as a tool for learning, reflection, and collective growth? These questions have guided my curatorial and pedagogical practices, aiming to generate spaces where transformation is possible and intrinsic to the experience.