Research Catalogue

Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April 2024 from Woolwich. 14 Barnsbury Road was deemed illegal through the courts, shortly afterwards. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (21) digital photographs for twenty-one (21) missing Albanian non-EU immigrants. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine)

Atelier Nomade is a research seminar around the practical use of lithography outside of the printmaking workshop.

This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives? [This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]

How can one learn to improvise convincingly within the context of the nineteenth-century piano repertoire? And why is it important to improvise on this repertoire in the twenty-first century? Taking the music of Robert Schumann (1810−56) as a departure point, Playing Schumann Again for the First Time proposes an answer to these questions through methods towards a pianistic practice that is driven by experimentation and strives to continually find more layers where improvisation can take place, both in sounding musical practice and in notation. These practice-based methods are contextualized by a discussion of the presence of improvisation in Western classical musical practice in the nineteenth century. They are then substantiated by an argument to use improvisation as a tool for rethinking the current performance practice of nineteenth-century music. Improvisation itself and the concepts driving this term will also be addressed: improvisation in musical performance will be described as a process guided by a feedback loop between mimesis and morphosis with which the practitioner engages using his or her individual cognitive and embodied approach to listening, forgetting, and conceptualizing; the results of which bear his or her own sonic signature. The knowledge gained in this project lies within the realm of what will be described as improvisation as practice, a category of improvisational behavior that circumvents the need to be presented as art and is rather intended for the development of one’s own music-making.

In classical music there has been an effort in recent years to bring to light those whose artistic output contributed to their genre or era but were not as well-memorialized as their caucasian heteronormative male counterparts. So, what about artist-musicians, and those adjacent to them, who lived outside the gender constructs of their contemporary hegemony? What contributions did they purposefully or inadvertently make? What is their reception history and how were these histories documented? Queer Studies in- and outside of musicology has made strides to recognize the existence of historic queer and gender nonconforming individuals. Generally speaking, the aim has been to legitimize the gender spectrum and to make the lives of these noteworthy individuals known. Still it’s impossible for us to know how these gender non-conformists would have categorized their own gender in the Early Modern and Modern Periods were they to have the same terminology as we have today. In this thesis I will cite figures from plays and broadsheet ballads of the 17th century, the developing opera genre in France in the early 18th century, the “low style” in London society and theater in the early 19th century, through to the Reconstructionist United States. By illuminating queer and gender nonconforming individuals and the performative acts that defined their personal lives, I show that these communities have always existed in some iteration and in many facets of the musical universe. What emerges is a centuries-old artistic lineage between gender non-conforming people that has yet to be fully explored.