The Web of Time unfolds from the artist’s father’s passing and expands into an inquiry into how ancestry, belief, and identity are constructed and maintained. Moving between personal memory, scientific research, spiritual narratives, and political history, the work examines and questions how ideas of origin are produced, stabilised, and transmitted across generations.

Through diary-like narration, family archives, and genetic research, the work exposes tensions between inherited notions of purity and belonging and contemporary understandings of shared human ancestry. It shows how families and societies rely on selective narratives to reduce uncertainty and contradiction.

The African Grey parrot appears not as a symbol but as a witnessing presence that unsettles human-centred knowledge systems. Placed alongside shamanic vision, ancestral belief, and scientific discourse, it introduces another mode of perception that resists institutional authority.

The work treats it as something continually reconstructed through storytelling and documentation. Personal loss, political history, and speculative futures are shown to exist within the same temporal field.

By combining intimate testimony with cosmological and political reflection, The Web of Time situates mourning and belonging within structures that exceed individual life. Time is not presented as linear, but as a network in which lives, species, and histories are constantly negotiated and reshaped.