Research Catalogue

“Meridiana: Lines toward a non-local Alchemy” investigates the line as a sonic, textual and visual phenomenon. Taking off from the four literary voices: the Dutch philosopher Baruch de Spinoza (1632-1677), the French philosopher Gilles Deleuze (1925-1995) and the Chinese Taoists Lü Yan (796 C.E.) and Sun Buer (1119–1182 C.E.), a multitude of meanings are interwoven in a rich network of musical, textual and graphic lines. The line as a basic concept is emphasized by the first word of the title, Meridiana (plural for meridian), which has terminological roots in both the East and the West. In Western terminology, it denotes one geographical line connecting the North and South Pole. In the East, originating from ancient China, meridians (经络) are energy pathways of the body (both human and non-human), which connect internal organs and a number of vital points in a neurological network. The meeting between these two interpretations of a "meridian", between the geo-physical and sub-physical, between East and West, are the cornerstones of the project, which intention is to weave together the various meanings and emphases of meridian, while at the same time unfolding an expanding an intersection of lines: sonic lines, textual lines, graphic lines.

Between the Lines is a practice-based artistic research project exploring how minoritised voices, oral memory, and affective sound practices can articulate endangered conceptual worlds within public space. Through a participatory sound installation that juxtaposes Chinese and British public telephones, the project examines how domestic speech, dialect, and hesitation operate beyond the verbal—producing heterotopic narrative spaces where experiences of otherness are negotiated collectively. The exposition documents the artistic process, contextual framework, and ethical considerations of the work, positioning sound as an embodied, relational form of knowledge that resists linguistic standardisation and cultural erasure.

Militarized Nature Artistic Research Materials

In this artistic research I approach performance art as a language formed through the interplay of materiality, duration, and multiple forms of agency. I adopt a linguistic lens, not to reduce performance art only to language, but to use it as an analytical tool to render its characteristics, regularities, and modes of operation visible. A work of performance art emerges within relations between the performer’s corporeality, materials, space, and time. It weaves together visual, conceptual, and embodied thinking, privileging ephemerality and immediacy over permanence. The audience is integral to the work, as performance is an ephemeral art in which performer and audience share the experience in the same moment. Documentation, especially photography and video, enables the reshaping of temporal and spatial relations, as the camera frames, selects, and reconstructs the situation. My inquiry focuses on relations among human, more-than-human, and nonhuman agents. I situate my practice within the field of new materialist and posthumanist contemporary art, where works take shape through multilayered collaborative processes across diverse agents. Performance studies serves as one of the conceptual frameworks.

The spillage project combines environmental history methodologies with creative sound and printmaking practices to investigate more-than-human entanglement in Irish agricultural and peatlands landscapes. Emerging from enviornmental history reserach into agricultural pollution and fertiliser use in Irish pasture, the project attempts to form an archive for the messy more-than-human stories that spill out from traditional historial sources. The project's printmaking workshops and sound installations ask visitors to curate and collage archival texts and sound into new portraits of the Irish landscape.

In this artistic research, I approached collage as a therapeutic and methodological tool rather than solely as an art form. I worked with its potential to hold fragmentation, rupture, and reconstruction—both metaphorically and materially. As part of the project, I organised a series of workshops with Ukrainian children who had experienced displacement. Collage became a shared language through which fragmented personal histories could be assembled, negotiated, and reimagined. Through the combination of storytelling and visual composition, I explored collage as a means of confronting painful memories while fostering processes of care, resilience, and emotional articulation. Sharing the experience of displacement with the children I worked with, my position was shaped by lived memory and self-reflection, situating the research between facilitation and personal reassembly of identity. The project culminated in a book-zine that brings together narrative, collage, and illustration. An alter ego functions as a mediating figure, allowing inner thoughts, emotions, and unresolved experiences to be articulated indirectly. The publication operates both as an outcome of the workshops and as a personal archive, reflecting on collage as a practice of healing, translation, and continuity in conditions shaped by loss and displacement.