Research Catalogue

Following on from my PhD research, Deeper Canine Topographies continues to explore human-canine cartographies, rhythms, repetitions,micro geographies and relational choreographies towards a proposal for future research.

Here I move, is an artistic research project focused on composition and improvisation. The aim is to explore and develop flexible compositional tools that can adapt to a wide range of creative contexts — from symphonic orchestras to conceptual performance, from music to dance, and towards any interdisciplinary field I find artistically engaging. Improvisation is the main method of investigation: by performing solo, recording sessions, selecting specific fragments, and analyzing them, I generate new material that is then proposed to ensembles and commissioned projects. This cyclical process feeds a continuous reflection and contributes to the development of compositional strategies tested in diverse performance environments. The research revolves around three central questions: – How can I create compositional tools that remain adaptable to increasingly diverse contexts? – How does this system influence my own performance practice and interaction with other musicians? – How flexible is it within interdisciplinary settings? This project is part of the Jazz Composition course at the Jazzcampus in Basel, under the supervision of Stian Westerhus, with the support of Stephan Meidell, Tineke Postma, and Guillermo Klein.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025. BA Interior Architecture and Furniture Design Summary (8968 words)

This thesis explores the interwoven relationships between women, the textile arts, and its heritage, through a personal familial lens. Beginning with the question of the importance textile-making has held in our lives, I investigate whether engaging in crafting practices can reconnect us with tradition and allow us to re-root ourselves in the lives of our ancestors. Drawing from both historical context and intimate family stories, I trace the lineage of textile practices among the women in my family - my Mothers. These include my mother, grandmothers, and great-grandmothers, whose experiences with sewing, knitting, crocheting, and weaving shaped their identities and daily lives. For many of them, textile-making was an act born of necessity, a survival skill often dismissed as “women’s work” within a patriarchal framework. For me, it is a conscious act and a choice - an exploration, a reclamation, and a form of personal and cultural healing. Through self-taught practice and reflection, I came to realise how textile traditions carry knowledge, strength, and connection across generations. My research, grounded in both historical analysis and storytelling, shows how making can become a language of remembrance and resistance, a way to bridge fragmented identity and reclaim belonging. In honouring the textile legacies of the women who came before me, I have tied myself into their story, not by romanticising their struggles, but to acknowledge their creativity and resilience. With each thread, I reconnect to a maternal lineage that continues to live through my hands.

This appendix is comprised of a small collection of photos that can be examined alongside the thesis 'my Mothers'.