I wake up and run, I shower, I make breakfast and start testing a batch of cookies while eating oats, I drop little pieces of coconut milk caramel in the dough, I send a picture to a friend of the cookies next to my hand, the caramel fails, I drink cofee and check Instagram, I check emails, I check Facebook, I write back standing up and scrolling and turning from one side of the kitchen to the other, I cut up big pieces of heavy fabric, I put on friendly music and consider to be carful of the sizing, I push rivets through the stif fabric leaning on the gun, I push twice and hard to attach two pieces, I turn the gun around so the metal stick falls out, I reload, I push the gun heavy onto the fabric, I push twice, turn around, reload, push turn around reload, I get up and walk from the living room to the table, moving my legs and drinking water, I go back and push, turn around, reload, I push, turn around and reload, leaving every so ofen to distract myself, I keep the fabric aligned, I cut of what sticks out, I eat the cookies, I feel a little sick from sugar and give up on caramel, I push, turn around and reload, push turn around reload, push turn around and reload until the work is done, the fabric is defated, a useless chair, a drained cushion, I grab a stick and make it stand up.

Frances Stark wrote ‘Te Architect and Te Housewife’ (London: Book Works, 1999) as a sequence of interrelated texts dealing with, among other topics, production at home versus reproduction in the public sphere. Te proposition of the housewife and the architect describes the tension of private production, which occurs without a trace of productivity, and autonomous exterior production, which disrupts and transforms material reality.

Maike Hemmers is a German artist, living and working in Rotterdam. Her current research includes the conception of ordinary and imagined spaces and a resistance in space through the pursuit of nothing.