HUMANITURES is my MA project and the continuation of my performative sculptures practice. The term "Humanitures"-a linguistic fusion of human and furniture encapsulates the core of my inquiry: how bodies, objects, and space interact, merge, and co-wear one another. This hybrid concept opens up a space to explore ideas such as worn space, the fragility and temporality of wearing, and the radical possibility of non-human or spatial wearers. At the heart of my practice is the creation of kinetic sculpture-clothing-structures that go beyond the utilitarian definition of garments. These sculptural pieces are not merely worn; they are activated. They act as instruments of movement, tools for interaction, and catalysts for collective embodiment. The body activates the object, and in return, the object shapes the body's gesture, perception, and identity. My current artistic research investigates collectivity, movement, and the body-object relationship. I am especially interested in how objects can extend or reshape bodily presence, and how the act of wearing-both individual and collective-can be an experiential and sculptural process. For instance, through the idea of collective clothing, I explore garments designed to be worn by multiple bodies simultaneously, forming temporary shared identities and challenging ideas of ownership, boundaries, and individuality. To explore these relationships I work with universal object archetypes-tables, chairs, and cabinets-chosen for their cultural familiarity and their associations with shared, social use. Their conventional roles are subverted: static form becomes mobile, wearable, and performative, while the body may become temporarily anchored, acted upon by the object it activates. This inversion of the movable and immovable references Vilém Flusser’s (1999, p.85) ontological musings: