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Artist.
I build systems that invite people to think together.
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 by @amy_selwyn
1
6 months ago
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What can objects remember that people cannot?

In Letters to Camondo, Edmund de Waal writes to Moïse de Camondo, the great collector who assembled an extraordinary collection of eighteenth-century French decorative arts in his Paris home.

The house became a museum. The collection survived. Much of the family did not.

Through a series of imagined letters, de Waal explores the relationship between objects and memory, between collecting and belonging, between what we choose to preserve and what history takes away.

I keep coming back to the idea that a collection is never simply a collection of things. It is also a portrait of the person who assembled it. An expression of desire, taste, identity, and perhaps even hope.

But objects cannot tell us everything.

And what is missing may be the most important part of the story. by @amy_selwyn
0
2 hours ago
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Yoko Oh No, after Emma Amos, 2026. by @amy_selwyn
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10 hours ago
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Yoko Oh No, after Cyril Edward Power, 2026. by @amy_selwyn
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a day ago
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Yoko Oh No, after a late 16th century anonymous portrait of Elizabeth I, 2026. by @amy_selwyn
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2 days ago
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Yoko Oh No, after Jeanne Mammen, 2026. by @amy_selwyn
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3 days ago
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Yoko Oh No, after Ruven Afanador, 2026.

Isabelita (2017), using the fashion designs of Isabel Toledo. by @amy_selwyn
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4 days ago
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Yoko Oh No, after Kenojuak Ashevak, 2026. by @amy_selwyn
3
5 days ago
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 by @amy_selwyn
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6 days ago
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Yoko Oh No, after Sandro Botticelli, 2026. by @amy_selwyn
2
6 days ago
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What makes a body beautiful? Who gets to decide? And what happens when an artist refuses the terms of the question altogether?

Thinking about beauty, vulnerability, artifice, and the extraordinary worlds we create in order to be seen.

Could It Be Love — Greer Lankton. by @amy_selwyn
3
7 days ago
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Yoko Oh No, after Anne Vallayer-Coster, 2026. by @amy_selwyn
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7 days ago
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