Research Catalogue

Building-Sound Compositions in (half-)public places: Starting from Graz, six vacant buildings in different European cities were researched as aural architectures and understood and experienced as an integral part of building-sound compositions. Techniques and strategies ​​were developed how sound art can react systematically to site-specific architectual conditions or how these environmental acoustic characteristics can become part of a previously non-existent composition.

GOON In 2023, at the age of 28, I was diagnosed with testicular cancer. This life-altering event led me to take a closer look at my sexual desire, question my relationship with my genitals, and rethink how I perceive my gender identity. Today, as I navigate a healing period, I seek to explore sensuality as a space of resistance and emancipation. GOON is an attempt to free myself from the shame surrounding (my) queer sexualities. GOON is a research performance inviting the audience to look up close at the way they see and seek pleasure. With a choreographic approach, I am researching queer eroticism as a place of joy. Ignoring the constraints of sexual norms, this exploration focuses on shaping a body that is both playful and desired, despite its apparent dirtiness.

The EcoSomatics Conversations Series invites sharing of engagement, practices and thinking around environmental awareness through embodiment activities, dance and art. It posits a definition of EcoSomatics as of the body-mind-ecology and takes the form of open public dialogues between two (or more) people: independent artists, practitioners, and academics. The project was conceived by Dr Polly Hudson, (Royal Birmingham Conservatoire, Birmingham City University), and the conversations are co-convened with Dr Karen Wood, (Birmingham Dance Network and C-DaRE). The conversations took place virtually with a large international audience, and the podcasts are audio recordings of the live events. It is supported by funding from ADM Faculty Research Investment Scheme, Birmingham City University. Image by Ming de Nasty.

Cruising with Craft to the Ends of the Worlds: Practices of shattering, becoming scyborg and dancing with dragons as possible cartographies is an investigation of cruising with craft as a companion to explore how its languages and discourses contribute to processes of equity such as decolonization and can challenge ivory tower academic structures through its cracks and margins, the place of the undercommons. Thinking with craft becomes essential in scyborgism. As la paperson defines in A Third University is Possible a scyborg "is a queer turn of word that I offer to you to name the structural agency of persons who have picked colonial technologies and reassembled them to decolonizing purposes." la paperson uses the scyborg within the academic institution to use the resources given for decolonial purposes when reconfigured. There is interest in how this idea can be expanded to other institutions such as the archive and the museum as well as the academy and artistic practice-based research with craft as a companion. Craft becomes crucial for its direct connection to the colonial framing of human and non-human and forces the consideration of the individual as well as the collective simultaneously. Collaborating and kinship making with artists and institutions of a vast array of disciplines has the potential to reassemble or reconfigure the current cultural systems of queerness and body politics while shattering the boundaries academically imposed on craft as a field. Unpacking the witnessing of toxic intimacies and the embedded systems of oppression rooted into the geological strata of cultural institutions as unpacked by Kathryn Yousoff, there is an urgency to develop ways to disrupt and subvert these mechanisms. lambert deploys the shoal or sandbar in reference to the work of Tiffany Lethabo King’s work The Black Shoals: Offshore Formations of Black and Native Studies to allow for constant shifting(s) and assemblage(s) to produce vibrations, meanings and embodied understandings. Through Natalie Loveless’s development of polydisciplinamory, a chimerical practice of making, collaborating, writing and curating creates systems for platform building and methodologies to talk with and not at, in regard to the othered body. These methods centralize joy and pleasure, making them crucial in developing alternative models of institutional existence. The thesis is comprised of a miscellany of compositions such as texts, images, objects and prior publications that have been assembled together to form this publication with Patrick Lacey and Jens Schildt. In this, there is no ending, no beginning, no index, only choices to be made and actions to be considered. The process of this assemblage marks a moment where work becomes material, context and tool for cruising once again. The person who encounters this becomes the research, acting in solidarity with Loveless’ resistance to the monography that explains and instead centers the value and importance of practice as the research itself.

Thesis / Research Document of the Royal Academy of Art, The Hague, 2023. BA Fine Arts This paper is my submission for the Graduate Research Paper, a requirement as part of the Bachelor in Fine Arts at the KABK. The paper examines the idea that an art practice based on making is an alchemical practice. I explore how, in the heyday of alchemy, artisans working away in workshops to produce artefacts through a bodily engagement with materials, were seen as alchemists. I describe more modern theories of making, taken from the Humanities, to show that they are really describing a continuation of this same way of working – the search for what Pamela Smith has termed an artisanal epistemology. I examine how alchemy might be incorporated into an art practice. It is evident there are two principal ways in which artists engage with alchemy, and I classify artists as being either Borrower, Adept or a hybrid of the two approaches. Finally, I present 3 bodies of work in which I have engaged with alchemy in my own practice.

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.