The artwork sets off with on-site research, develops during a sequence of performative acts, and interacts with the audience through narratives both in the physical and in the virtual world. The performative acts focus on seven consecutive days during which a record of daily activities is kept from the moment a fresh pair of socks is put on, until the time it is taken off.  The set of performative acts, directly related to the previously lived-in and researched realities, simultaneously blurs and sharpens the line between the body and its position and movement in space. Singular pairs of socks are then folded, vacuum sealed, and photographed to be sold anonymously on an online platform. The artist acknowledges their everyday life as a commodity and uses it in a utilitarian way – by making a discardable pair of their worn socks into an object with economic value. These are sold in a virtual geographical space, as erotically charged objects, without the artist’s signature. For each pair of socks a certificate of authenticity is created, signed by the artist, and framed. The seven certificates of authenticity are a part of the in-gallery presentation, and priced at a much higher value than the pairs of socks they represent. Part of the same artwork, the two components remain available for viewing and purchase separately and to separate audiences. Next to the certificates of authenticity, a curated scenography recreates the artist’s working desk. The records of the performative acts, in the form of a hand-written journal are placed on its surface. The journal entitled Sock log is a textual representation of seven days in a life and a personal yet universal portrayal. The precarious interspace between labour and artistic work is enlarged with a transformation of a daily routine into a work of art – crafting an artist’s journal by documenting their quotidian. It is not for sale, and is to be donated to a museum to be defined upon the artist’s death. The artwork explores the multifaceted questions of value in relation to positionality, and subsequently the borderlines between an object and an artwork. From the starting point to the final presentation we can observe a complex duality that both recognizes itself as the other and merges (itself) with its surroundings, by claiming its position within them and raising questions about them. The duality brought forward exists inside and outside the art world that encircles it, the art work that forms it, and the artwork itself. The elements on both sides of separating lines combine themselves to form a single narrative, with the individual parts acting as paragraphs; a visual manifestation of processes in language.