Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April 2024 from Woolwich. They moved in two or three under aged, who I have never met and were pretending to be my daughters. They must have been removing them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave in March. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (20+1) digital photographs for twenty (20) missing Albanian and of Albanian ethnicity non-EU immigrants and one (1) missing Italian citizen. The twenty-one persons whose details got stolen were abducted by Golden Dawn, the NRM and possibly Forza Nuova; they are deceased. My personal details were also stolen. Was I going yo be the twenty-second? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The artworld has been traditionally male dominated. This has changed a little bit in contemporary art, but not dramatically. Female artists have sometimes adopted male attitudes or personas to break into the art scene; notably, Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, for instance that there is no art for women or so-called feminine art. Good art transcends such categories, tapping into more universal experiences. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. To all those who don't just "play" the cultural and racial diversity clause.

The aim of this artistic research project is to create an illustrated VR documentary experience that narrates the story of a time witness from the second world war in Bodø, Norway. The project explores questions concerning visual storytelling and ethics in the encounter between the VR-audience, interviewed subjects and the audiovisual spatial design. Artistic and qualitative research methods have been employed to explore how different visual modes and contexts alter the experience of narrator(Time witness) and narrative in a media format characterized by its ability to place the viewer in a state of immersion, intimacy, and a sense of presence. Theoretically, this study is situated in an artistic landscape connected to media theory, journalism, ethics and visual communication. Concepts such as media witness ethics, with the so-called risk of improper distance and considerations around the term distant others, are relevant for the reflection associated with the project.

Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review Application of Artographic methods towards own and/ or others dance practice. Project "Practices for the future"

Ars Memoriae, The Art to Remember analyzes the role of art within the larger history and evolution of external memory devices. It looks at material traces of remembering and the invention of an ever-changing body of language expressions, like signs and symbols, to enhance communication capabilities. I followed the process of externalizing emotions, knowledge, and information, starting in the Palaeolithic Stone Age about 3 million years ago, until, in a speculative future, it will be internalized again using artificial wetware, neuro-computers, and DNA coding. > Click on the image to download the PDF.

Why I paint Thousands of Circles explores psychological barriers and multilayered themes that stem from a single horrific event that involved Moran’s father and his brother. The artist collates information, photos and constructs an ar(t)chaeological archive where family photos, product imagery, together with newspaper clips to form units of a historical and psychological mind map. The exposition becomes an auto-ethnographical exploration of mid 90's working class North West London. The repetitive painting process, exposed and documented in the exposition, functions as transformative method, where ambiguous feelings of a violent upbringing are directed towards the creation of a visual system with an inherent logic – “creating some kind of beauty out of ugliness.”

The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.