Research Catalogue

Understanding the complexities of current European society is impossible, especially for the younger generations, without knowing and understanding the complex historical developments and narratives. In most EU member states teaching history in the system of formal education is predominantly focused on national, if not patriotic history narratives. The consequence of this approach is that young people have a lack of knowledge about a wider, transnational and shared European history.

A journey between art object and performance where the mirror of water reflects us in various different ways to give us access to different facets of our self. Looking at oneself immersed in the space of nature, fragmenting one's anthropised ego into a multitude of cyborg possibilities, fluidifies the petrified conception of the Narcissus who only looks at himself, making him in fact a healed Narcissus, a plant that blossoms and grows instead of perishing.

Professional Doctorate in Arts + Creative is an educational pilot program in The Netherlands for an advanced degree in universities of applied sciences. The PD program at an university of applied sciences is developed to train an investigative professional. This portal is a platform for publishing artistic research generated by the PD candidates. Within the Professional Doctorate program, this portal will also be used as an internal tool for documentation.

'Southern Outfall Works' consists of the collected partworks developed through extensive period as field artist at Crossness, a historic sewage pumping station on the banks of the Thames, leading towards a large-scale, site-specific installation, Southern Outfall, in May 2025. The evolving works form part of submission for practice based Phd, alongside a co-evolved paper 'Southern Outfall: sensible ways in evolving installation'. The works and paper encompass a spectrum of thought from multiple knowledge bases, brought together through an underpinning in process philosophy. The part-works and text support the generation of immersive, multi-modal event-installation which will be sensitively situated across the site, engaging a range of sensory encounters while exploring the nature of the voluntary organisation that keeps the place in existence. Through a layered relationship to science, technologies and redundancy and with a touch of common sense, mingled encounters emerge...

This research investigates the visual narrative built within artworks that deal with colonial memory in Sapmi, and the heavy layers of history in the Baltics, particularly Lithuania during the Soviet era. The research question is: How can themes of Gulag, colonial history and traumatic transgenerational memory be addressed by the artists and by curators in large-scale exhibitions and art venues? The aim of this study is to examine how visual expression is aesthetically communicated by the artists, how their artworks are presented in exhibitions and media channels, and how they are received by audiences. The study examines four cases: artworks and projects by two Sami artists and two Lithuanian artists. The research is conducted as artistic research, where the author acts as the artist, curator, and spectator of the artworks being analyzed. The author has been actively involved in the creative curatorial processes, including designing the curatorial setup of the Sami artists' artworks for their audience. The comparative analysis of the visual expression is done through the reflexive tools of the author. The study's findings provide an outline of the tools that artists use within their artworks, as well as the curatorial strategies applied when presenting those artworks to audiences.

Exploring how artistic experience can be influenced by mimetic recognition of human motion patterns in non-representative kinetic figures. This project investigates imbuing non-representational kinetic figures with human-like movement patterns and examines how these characteristics can modulate the expe rience of such figure(s). The investigation explores whether these motion patterns may facilitate mimetic recognition of human movement patterns and whether such recognition can intensify onlooker engagement with the figure(s) by eliciting affective and emotional responses. Of particular interest is evoking experiences of kinship and relation between humans and non-humans and proposing that the figures’ actions be experienced as an expression of intent on the part of the figures. These topics are approached as artistic motivation and guiding principles for artistic creation and experimentation.