Research Catalogue

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A3 drawings on paper with coloured markers + 1 A3 with black ballpoint pen and markers. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 wo-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. Some of the above is preparatory work for 4 large prints and 13 paintings. 22 A4 drawings with ballpoint pen. I did/made the art between 2023-2024, from the perspective of the observer. I started writing the blog afterwards, from the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition. Using this visual approach, I wanted to evoke a comically sharp twist to the otherwise dark subject matter. "Pop and Politics" (Pop Og Politikk) Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation. In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message." From the National Museum, Oslo, Norway, 2024. For Nikos, Filip (Philip), and "Brandon" - August, September, and October 2024. For 'Tricky' - January 2025. The text is written like a hip-hop song. The art is influenced by Jean-Michel Basquiat, See exposition in connection with "The Origins of The Game", "Debris", and "The Loot".

I like to approach my body of work as being one big opera. Every object, wearable object or costume serves the opera. Every spatial costume a backdrop, every sculpture a prop, every wearable object a costume, every costume a character. One day I will make an opera consisting of all my works. Welcome to my world, welcome to my opera

A new filigrane sound object (or series of objects) in the making, w.i.p.

Collaborative filmmaking and the quest for a collective narrative. Through exploring different kinds of collaborators strategies this project embarked on a quest. Is there a way to create a narrative fiktion film that has is a founded in a kind of collective, existential mythology of contemporary life.

Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space | Organized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.

This exposition is the submitted PhD thesis for the doctoral degree in artistic research in Perfroming Art at Malmö Theatre Academy, Lund University December 2024. This artistic research was carried out between 2020 and 2024 and financially supported by Malmö Theatre Academy, Lund University, Sweden. Main supervisor: Sofia Pantouvaki Second supervisor: Camilla Eeg-Tverbakk The exposition is in three parts: FRAMEWORKS – contextualization the artistic research including description of the artistic method in the research. PROJECTS – containing descriptions and analysis of the three artistic projects "AweAre – a movement quintet", "Community Walk" and "Conversation Costume". CONCLUSION Abstract: At the heart of this research are relational encounters between people and textile materials. As the title, Crafting Material Bodies, indicates, the research explores how human bodies are crafted by material bodies (costume) and vice versa. In the research textile materials and people are my co-creators and as co-creators they are invited to relate to, affect and become affected by other human bodies and more-than-human materials. As the subtitle, exploring co-creative costume processes, indicate the main quest is to explore how we (humans) co-create with textile and costume materials and to explore how textile and costume materials become equal co-creating partners. In the artistic projects I invite fellow artists like performers and designers to explore specific connecting costumes (that connect two or more people) with me. As co-creators I invite them to engage, respond, inform, influence and/or interrupt our costume explorations in ways that matter to them and to critically reflect on our explorations. In the projects I study how listening become instances of relational acts between humans and more-than humans that evoke curious embodied and conversational dialogues Such dialogues are invitations to listen with the textile and costume materials, with (human) bodies, to share embodied experiences, to co-create and to elaborate on the various creative perspectives. During the artistic projects I act as more than an observing designer/researcher. I am the host that have crafted the connecting costumes in collaboration with the textile materials and as host I also actively take part in exploring what the costumes evoke and provoke. The goal is to explore how being a participating host affects the explorative costume situations. The research has four focal themes – crafting, listening, hosting and co-creating – which are explored though three artistic projects. The artistic project AweAre, a movement quintet, explores the act of listening, Community Walk explores the act of hosting and Conversation Costume explores the act of co-creating, while all three projects explore different aspects of crafting. As the themes are entangled, all three projects contain aspects of the four themes. With this research I suggest that it is critical that in co-creative situations we cultivate our listening abilities with human and more-than-human others, and I argue that textile and costume materials is a medium that enable us to do so. With this research my ambition is to formulate ideas on co-creative methods that value material-discursive listening and where the hosting attitude is orientated towards communal doings. The aim is that listenings and communal hostings become tools for designers to gain a deeper understanding of how costume affects performers, and the boarder scope is that the research contributes to discussions on how teams can collaborate with humans and more-than-humans in more generous and inclusive manners. One example is that we acknowledge that our different disciplinary perspectives are creative possibilities in our common doing and that we recognise that how we share and exchange our differences has an impact on how we flourish co-creatively with our human and more-than-human co-creators. ISBN: 978-91-88409-39-3