Research Catalogue

short bio and cv

My position is that knowledge about an artist and their work can be uncovered through close looking at their work and that some of this knowledge can be held and transferred tacitly to viewers (that are also artists). This knowledge can be articulated through practice, in this case in the making and subsequent close looking and reflection of the Selfish Portrait paintings. Because the knowledge is tacit, as opposed to propositional, the knowledge may be sensed, felt or difficult to articulate in words. Practice is the most appropriate vehicle to test whether this knowledge can shift from what Alexis Shotwell’s has articulated as ‘nonpropositional knowledge’ to ‘potentially propositional knowledge’. In Selfish Portraits I search for self-portraits by a range of dead artists in terms of geography, gender, race, ‘status’, time of working, style, etc. This necessitates (re)searching beyond my current knowledge base using gallery visits, internet searches and books. The selected self portrait(s) are subjected to a period of ‘looking attentively’ in order to visual interrelate and learn about the painting, and by extension the artist. The main focus is allowing the self portraits to ‘talk to me’ following the theoretical stance of the ‘active’ painting or picture, that knowledge is held in the painting itself and cannot always be found in (written) documentation.

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos.

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

It Is Indeed a Dance is a project exploring the emotional, psychological, and cultural shifts within contemporary romantic discourse. Using the metaphor of dance as a dynamic, often asymmetrical interplay between self and other, the project investigates love and post-love conditions marked by ambivalence, hyper-awareness, and emotional fatigue. Drawing on concepts such as limerence, attachment theory, fantasy bonding, and “situationships,” it examines how psychological language has entered everyday dating vocabulary—shaping not only how we talk about love, but how we experience it. Through autotheoretical writing, visual media and spatial compositions, the project seeks to map and mediate intimate dynamics in an era where connection feels both over-analyzed and elusive. It reflects on the contradictions of contemporary intimacy, where vulnerability is praised but rarely safe, and communication is vital yet often ineffective in post-romantic conditions.

The Arrangement of Objects examines the intersection of functionality, aesthetics, and artistic practice through experiments with glass and metal. Central to the project is the notion of burden, understood both physically, as pressure or weight, and metaphorically, as imprint, deformation, or trace. This theme is expressed in layers, grooves, and perforations that evoke landscapes or the life cycles of objects. The work situates itself between design and fine art, emphasizing material research as a driver of innovation and interdisciplinarity. It also highlights the role of conceptual thinking and autoethnographic reflection, integrating personal experience into the creative process. Through layering and transformation, the project questions the porous boundary between utilitarian and artistic objects while expanding the expressive vocabulary of glass and metal.