Research Catalogue

This thesis stems from the need to investigate an original painting technique developed by the author, which combines figurative painting and solidified atmospheric phenomena. The heart of the research is a simple and radical question: How can an ephemeral phenomenon be made permanent? The answer takes shape through the creation of sheets of solidified rain, transparent membranes that preserve the logic of the drop, the flow, the surface tension. These membranes are superimposed on figurative paintings, generating a multidimensional visual language. Transparency is not an aesthetic effect, but a temporal device: it freezes the work, suspends it, holds it in an eternal instant.

Esta web es producto digital del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Con la realización del proyecto, se busca incentivar el uso de la narración gráfica como proceso horizontal que permite relatar y revisar la importancia que tienen las prácticas artísticas de las comunidades en la construcción de tejido social. La propuesta de mediación artística se visibiliza como una estrategia colaborativa que permite el diálogo y el intercambio. El trabajo se inscribe y contribuye a las apuestas del Grupo de investigación para la creación artística y de la Línea de investigación en: Estudios críticos de las corporeidades, las sensibilidades y las performatividades. Adscritos al doctorado en estudios artísticos de la Universidad Distrital Francisco José de Caldas.

Introduction This research investigates the possibility of transforming ephemeral liquids—primarily seawater and rain—into solid, stable, and optically active materials, within the methodological framework of the Divergent Gaze, a phenomenological protocol that considers imagination as a pre-scientific hypothesis capable of being empirically verified. The artist does not simply observe matter, but interrogates its molecular stability, manipulating transition states to arrest fluidity without destroying the identity of the liquid itself.

Touring occupies a unique and often underexplored role in the careers of electroacoustic musicians, where the intersection of artistic, technical, and logistical challenges becomes especially pronounced. This article examines the practical realities of touring within the context of multichannel electroacoustic music, using Electric Audio Unit’s (EAU) performance in Tallinn as a case study. The article highlights the challenges of preparing for and executing a multichannel concert in an unfamiliar venue, including issues of spatialization, equipment compatibility, and time constraints. Additionally, it reflects on the broader demands placed on electroacoustic musicians, who must often juggle multiple roles to ensure the success of their performances.

The exhibition is deeply rooted in local history—the artist group explores the story of the white pigment titanium dioxide's industrial origin in Sandbekk, and how this world sensation from 1910 has influenced our world today. Titanium dioxide white pigment is a global color phenomenon. Ilmenite is transported from Titania to its sister company Kronos Titan in Fredrikstad, where it is refined into titanium dioxide. From there, the pigment circulates seemingly invisibly in a global network of systems. It is used in paint, plastics, paper, ink, cosmetics, medicine, sunscreen, and millions of products we use daily. This history is the starting point for the development project TiO2: The Materiality of White. Over the past two years, the artist group has visited Titania's mines and deposits, gathering materials from the local history. Just as geologists examined the areas in Sokndal over 150 years ago in search of valuable minerals, the group has wandered through the landscape, picking stones and collecting sand, clay, and rust-colored earth. These findings have been brought back to the ceramic laboratory at KhiO, where they have been processed through ceramic methods.

This exposition comprises textual fragments (both written and voiced) produced through the act of returning to (in turn re-activating, re-configuring, even re-imagining) conversational transcripts generated within the artistic research project Dorsal Practices, a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker. Initiated in January 2021, Dorsal Practices is an artistic collaboration for exploring how the cultivation of a back-oriented awareness and attitude might shape and inform our embodied, affective and relational experience of being-in-the-world. Conceived at the threshold between choreographic-movement practices and language-based artistic research, Dorsal Practices explores how the experiences of listening, languaging, even thinking, might be shaped differently through this embodied tilt of awareness and attention towards the back, moreover, through a practice of coming back, the act of (re)turning. The original transcript material that forms the basis of this exposition was produced through a practice of conversation undertaken within six interrelated blocks of exploration, taking place over 18 months between October 2022 and February 2024. Within this period of enquiry, we — Brown and Cocker — focused our attention on the act of returning within our shared practice, re-imagined as a "dorsal turn". Through the intermingling of two registers of language-based practice, that is, through the performativity of both the written and spoken texts themselves, within this exposition we attempt to make tangible how the dorsal gesture of the turn and the circling principle of re- become operative as a spinal thread within our shared enquiry. Deviating from the straightforwardness of a strictly linear text, we invite a form of dorsal listening-reading that might engage through loops and returns. We conceive the research artefacts generated through the practice itself as the central focus within this exposition, alongside a supporting text where we introduce the wider enquiry of Dorsal Practices, reflecting on how we conceive the act of turning and of re-turning therein.