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.

The concept of spatial context is often presented and visualized commonly through its relation to the built environment. Its significance predominantly plays a fundamental role in understanding the world and forming relations between various diverse experiences, and interpretations of reality. These influences, in which knowledge is produced and transformed by inhabiting the process of being seen, felt, and perceived, overlap where the notion of time unfolds intricate reflections of itself regarding happenings, entities, and physical elements. By exploring the spatial context in a non-linear timeline, it is possible to identify unique hidden dimensions that enrich the understanding of the totality that is related to spaces and their surroundings. This nonlinearity is achievable through the phenomenological understanding of lived spaces which brings mental, physical, and sensory, at the same time largely subjective realities to conceivable participation. With these guidelines, this research consists of an artistic exploration that aims to visually investigate artistic methods and processes of revealing extended visual qualities of mental space, and what type of connections are intertwined within its architectonic surroundings. My aim is to phenomenologically uncover hidden dimensions inherited within mental space. Therefore I destabilize conventional meanings of space by visually exploring and rendering the mental and emotional geographies that shape our lived experience, internalizing and revealing the constructedness of mental spatiality through an artistic process that reflects psychogeographic embodying. By challenging linear and objective representations of space by engaging in an artistic exploration of mental and emotional landscapes, I unfold non-linear timelines, subjective lived experiences, and the overlaps of perception and time, where memory and the present co-narrate within us.

JSS Book reviews

The RESONANS festival, held in Copenhagen, Denmark, operates as a comprehensive artistic research project that critically examines the intersections of multimedia arts, community engagement, and cultural diversity. By establishing a dynamic circular process, the festival acts as a platform for multimedia and multicultural dialogue, facilitating meaningful exchanges among artists, scholars, and community members. This exposition aims to provide an in-depth analysis of the festival’s methodology and developmental trajectory, placing particular emphasis on its iterative process and agile project management strategies. These methodologies enable the festival to adaptively respond to participant feedback and emergent artistic expressions, thereby fostering an environment that promotes innovation and inclusivity. In addition, the RESONANS festival addresses significant themes, including humanity's relationship with the environment and the diversification of the Nordic cultural landscape. Through a series of curated events, workshops, and performances, the festival invites participants to engage in critical discussions surrounding ecological consciousness and cultural representation.