Research Catalogue

My project explores the topic of identity, belonging, and freedom through illustration, poetry, and urban space. This semester has been dedicated to finishing my project. I placed new works across several areas, continuing to spread my posters and presence of pigeons within the urban spaces.

This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.

I work at the boundary where a finite biological object asymptotically approaches zero and, through this disappearance, gives birth to an infinite aesthetic event — a singularity. The series “Singularity of Beauty” is an ongoing investigation into the moment when decay, entropy, and controlled human intervention collide to rupture the visible world and generate a new, non-representational order. Method: Asymptotic Ritual A chosen organic system (bird, bouquet, insect colony, fungal network) is placed on a prepared surface and deliberately abandoned to natural forces — heat, humidity, insects, gravity, time. During a fixed ritual period (7 days in the current cycle), the object decays following an exponential law analogous to f(t) = a·e⁻ᵏᵗ. The artist is absent; only documentation occurs. At t → ∞ (practically: when the biological object approaches zero), the artist re-enters as a second asymptotic operator. Selective pigment application, removal of material, and layering transform the residue into a visual limit — a singularity point where the initial object has vanished, yet infinite meaning emerges. The final state is neither representation nor abstraction; it is the frozen event of the limit itself. Core Principles Decay is not a theme; it is the first author. Time is treated as a physical material with measurable half-life. Human intervention functions as a controlled perturbation that forces the system past its natural equilibrium into aesthetic infinity. The resulting image is a palimpsest of two incompatible temporalities: biological time (unstoppable) and artistic time (intermittent, intentional). The “demon” is not a depicted figure but the mathematical event of the singularity: the instant when order, passing through zero, becomes infinite and alien.

This exposition is an archival gesture emerging from the Dramaturgical Ecologies research-creation collective. Rooted in the entwined inquiries of Blacknesses and Dramaturgy, it gathers the dialogues, encounters and an artistic residency that unfolded through the SSHRC-funded Murmurations project. Between the viscous resonance of okra and the shifting flight of murmuring birds, this exposition shares choreokratic ecologies - a garden of study where movement, thought, and relation co-compose. Here, Blackness becomes a method, a lens, a refrain, challenging the neutrality of the performer-dancer body and inviting modes of collective creation that are relational, porous, and opaque. Murmurations attends to what forms in the formless - like a swarm of birds: a living archive of bodies, voices, and ecologies composing a landscape.

With the artistic research project Costume Dramaturgies we explore the dramaturgy that emerges when performance takes an unconventional starting point: a costume – a thing. By approaching dramaturgy as an assembly of things, we shift perspective from the human to the non-human, giving agency to costume, props, and light in performance. We argue that the dramaturgy of things remains an under-researched area in the performing arts. The one-year project is funded by Stockholm University of the Arts and brings together 12 researchers from costume design, dramaturgy, mime acting, LARP, film direction, theatre studies, scenography, and performance art. This multi-perspective, poly-vocal approach aims to generate a nuanced understanding of dramaturgy of things, and includes workshops based on devising methods—most notably the Costume Jam Session, where participants interact with costumes through chains of action, followed by reflection on the dramaturgy that emerges. The project is a continuation of the artistic research project Costume Agency.

The Opener - sharing the performer’s process was a one-year artistic research pilot project (March 2024 - March 2025) funded by strategic funds at the Faculty of Fine Arts, Music and Design, University of Bergen. It was part of the Grieg Academy Research Group for Performance and Interpretation (GAFFI) together with external members from The Academy of Performing Arts in Bratislava. The project consisted of 8 sub-projects and educational activities, involving different instruments: piano solo, violin, duos with voice and piano, clarinet, accordion and guitar. The term opener can in this project proposal symbolize a three-fold meaning connected to the music performance field. This project seeks to - see the performer as an opener of musical meaning in a performance (interpretation of musical intentions in scores and improvisation) - challenge ourselves as performers as openers that share his/her artistic work (getting insight into the creative process and methods) - finding openers as tools to reveal and show the creative process of performers (ways of showing the artistic process)