CHILDHOOD GAMES SERIES

Childhood Games (2025, ongoing) rebuilds the toys of childhood from contemporary materials: transparent bricks, resin, light, the debris of our devices. Play is a state of presence. How present are we when we scroll? How does that affect our relationships, with ourselves and with others? Since Chess between colonies the work has taken the street.

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House of cards (2026) is a replica of the brutalist block in London where the artist's daughter lives, built from 2,562 transparent bricks. Each holds a fragment of the tarot deck that belonged to the artist's mother, 61 cards cut into 42 pieces. Between them, objects found on London streets during the making. A manuscript stands beside it. "Please take one"

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A doll house (2026) rebuilds the house the artist assembled for her daughter in 2009, which came out of a box. This one was built by hand: polycarbonate, three floors, open front facade, a house that conceals nothing. Its inhabitants are repurposed mobile phone screens, seated at the table, lying in beds. The screens are the dolls of our contemporary world. The house stays. The instructions travel home with whoever takes them.

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Chess between colonies (2025). All the pieces are black, shifting the game from competition to encounter. Each carries half a symbol that completes itself only in relation. The board holds gold and oil, the materials that drive the digital world. The colonial game now plays out through data, behaviour and attention.

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Hide-and-seek, Domino geim, Puzzle (2025). The navel, photographed at low resolution, set into discarded screens. Echo chambers and digital bubbles, where everything returned is a reflection of one's own gaze. Origin and excess, presence and disappearance.

Kite I and Kite II (2025). In the first, screens become mirrors, smooth surfaces where the body recognises itself. In the second the mirror fractures, and cracked screens return a body split between the tangible and the virtual.

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Social fabric (2025). 624 discarded screens held together by neodymium magnets, two metres by two metres. Surfaces that are mirrors and portals at once, made into a single cloth.

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New religion (2025). Repurposed screens, pasta, a surveillance camera, resin. The perfect imperfection of the influencer. The screen as altar. The feed as ritual.

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Fun and games (2025) is where the series began. Vintage 1970s cartoons in acrylic and resin on wood, with the screen the artist's children played with. The first work to open the passage between the physical and the digital.

Consciousness becomes a form of resistance.

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Childhood Games gives form to and extends the Communication dimension of the ACT practice, the artistic research framework developed by Paula Marcondes over thirty years.