PERSONAL ARCHIVE (AFTER MARGOT ZANSTRA), 2014. I never had a chance to meet her. But of course there are many artists that I have never met and I know about their existence only through the sources and materials that are disseminated in the circuit of the art world. But in this case, I also never had a chance to stumble upon her works before and even if, I don’t remember. I have had never heard of Margot Zanstra before I crossed the threshold of her house, where I was working with the material I found there. To get closer to the character that appeared to me I begun to learn her handwriting. The handwriting is neither mine nor her anymore, and in this sense becomes fictitious or belonging to the fictional character. I had to create “My Margot” in order to get closer to the “existing one”, the artist and ballet dancer who lived in Amsterdam, in the canal house on Herengraacht. As a result I created my signature written in “her” handwriting. The work consists also of a text that is a “mental documentation” of the process of learning Zanstra’s penmanship, a peculiar dialog between me and her – the character that was my vision on Margot’s figure. After completion of the project, I noticed that my own handwriting had changed and I couldn’t go back to the way I used to write before. Therefore I contacted the graphologists in order to learn who I am now (was at that moment) and how much of Margot remained in me.