at the end of the sentence, it rotted is a performing sound installation and research project on bio-asemic writing and constructed languages as tools for questioning linguistic hierarchies.

Emerging from my own experience of language loss, the work reflects on the mother tongue as a political construct and the diasporic condition of language: how it can exclude as much as it connects, especially in contexts of migration and linguistic dislocation.

Drawing inspiration from constructed writing systems like Nüshu—a phonetic writing system created by women in China without access to literacy—the project reimagines language beyond monolingual ideals. Through abstractions of writing systems, at the end of the sentence, it rotted explores bio-asemic writing as a constructed language of radical inclusion: a language without fixed meaning, in which every viewer stands simultaneously inside and outside, invited to form interpretation from textures, abstractions, sound and gestures.

Water is pumped into the pond and reversed every four hours, performing a slow transformation where rust accumulates and biomaterial decays. A live soundscape, programmed as an evolving ecosystem, sonifies the writing strokes, reproducing them in cycles similar to mold and microbial life.

When language defines who is included and who is not, at the end of the sentence, it rotted seeks a pre- or post-language rooted in affect, in decay, and in the body. Locating resistance in unlearning fluency, the work turns to the rotting and the misread as a ground for speculative speech.