Research Catalogue

My project explores the topic of identity, belonging, and freedom through illustration, poetry, and urban space. This semester has been dedicated to finishing my project. I placed new works across several areas, continuing to spread my posters and presence of pigeons within the urban spaces.

This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.

I work at the boundary where a finite biological object asymptotically approaches zero and, through this disappearance, gives birth to an infinite aesthetic event — a singularity. The series “Singularity of Beauty” is an ongoing investigation into the moment when decay, entropy, and controlled human intervention collide to rupture the visible world and generate a new, non-representational order. Method: Asymptotic Ritual A chosen organic system (bird, bouquet, insect colony, fungal network) is placed on a prepared surface and deliberately abandoned to natural forces — heat, humidity, insects, gravity, time. During a fixed ritual period (7 days in the current cycle), the object decays following an exponential law analogous to f(t) = a·e⁻ᵏᵗ. The artist is absent; only documentation occurs. At t → ∞ (practically: when the biological object approaches zero), the artist re-enters as a second asymptotic operator. Selective pigment application, removal of material, and layering transform the residue into a visual limit — a singularity point where the initial object has vanished, yet infinite meaning emerges. The final state is neither representation nor abstraction; it is the frozen event of the limit itself. Core Principles Decay is not a theme; it is the first author. Time is treated as a physical material with measurable half-life. Human intervention functions as a controlled perturbation that forces the system past its natural equilibrium into aesthetic infinity. The resulting image is a palimpsest of two incompatible temporalities: biological time (unstoppable) and artistic time (intermittent, intentional). The “demon” is not a depicted figure but the mathematical event of the singularity: the instant when order, passing through zero, becomes infinite and alien.

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.