Artist Natasha Evans sits down with conversation partner Elisa da Costa to unpack a tactile practice that fuses fragmented textiles, acrylic and ink with vessels woven from fabric, copper wire and red oxide. In malachite-toned “soft structures,” Evans probes polarity—soft/hard, seen/unseen—through layered processes that conceal as much as they reveal. Prompted by da Costa, she traces a path from illustration studies in Bournemouth to building an independent studio in Lusaka, balancing commissions and a framing business while pushing toward large-scale installations, residencies and deeper material experimentation. Together they map Zambia’s art ecosystem—scarce spaces, DIY networks and the need for curatorial support—while circling themes of belonging, memory and transformation.