Research Catalogue

This research is grounded in the hypothesis that matter—particularly in its liquid and powder forms—is not a static entity but a process in continuous transformation. As stated in the original text, “matter, especially in its liquid and powder forms, is not a static entity, but a process in continuous transformation.” Natural liquids and powders, originating from domestic, alimentary, environmental, and atmospheric contexts, are understood as dynamic systems capable of generating form through elementary physical phenomena such as evaporation, sedimentation, coagulation, crystallization, oxidation, surface tension, and molecular interaction.

Light Paintings: Material Processes, Optical Phenomena, and Artistic Implications. The Miracle of Light and Darkness as a Material Phenomenon

This research investigates how local sourcing practices in the Netherlands can enable the reuse of secondary food-related materials for ceramic glaze production, and how the exploration of existing networks through material research can contribute to the development of new cross-sector collaborations. Through a practice-based approach that bridges ceramic production, design research, and the restaurant industry, the study explores the potential of locally available “waste” materials, such as bones, shells, charcoals, and discarded glass, as viable resources for glaze making. The research combines material experimentation with qualitative fieldwork, including interviews and informal discussions with chefs, ceramicists, suppliers, and material practitioners. By tracing the origins, processing, and transformation of these secondary resources, the study critically examines the environmental impact and opacity of conventional glaze supply chains, which often rely on imported raw materials and energy-intensive extraction and transportation processes. Central to the research is the creation of a material archive that documents locally sourced secondary materials and their behavior in glaze recipes. This archive functions not only as a technical tool for ceramic experimentation, but also as a framework for understanding relationships between material flows, human practices, and local infrastructures. Drawing on the concept of “working in the minor key,” the research emphasizes learning through direct engagement, observation, and collaboration rather than predefined systems. The findings suggest that material research can act as a catalyst for new circular practices and cross-sector networks between restaurants and ceramic industry, fostering shared responsibility, creative exchange, and reduced material consumption. By reframing waste as a site of value and knowledge, this study proposes an alternative, locally embedded approach to glaze production that integrates sustainability, and social engagement.

The act of waiting, which refers to the public transport stop as a metaphor for the condition of migration, is used in this research to explore the temporal and emotional aspects of migration. Bus stop serves as both a physical site and a symbolic threshold, a space of transition, suspension, and projection toward an uncertain future. Within this context, the project traces the transformative phases experienced during emigration, emphasizing the temporal dimension of waiting, expectation, and the tension inherent in moments of immobility. The outcome of the project is a site-specific installation, situated directly within the public space, specifically at bus stops, where the object destabilizes the everyday rhythm of transit. By oscillating between staged intervention and authentic environment, the project foregrounds the paradoxical beauty of stillness, alongside the latent unease of anticipation.

The project presents a distinctive mythopoeic audiovisual language created to express the experience of aging in a female body in the period between the twenties and thirties. Within the context of life in a late capitalist patriarchal society, and both individual and global events, it reflects on the age-old questions of the passage of time and the search for the meaning of life. At the same time, it examines the feelings of pressure, heaviness, and disposability that are part of the shared common experience of women. Through written word, cinematic language, and original author-composed music, it interweaves symbols and situations in which mud and natural metaphors play a significant role.

This research presents a comparative analysis of entropy across two distinct environments: the biological decay of organic matter on canvas and the semantic erosion of artificial intelligence. Centered on the project Bird → ∞ and the interactions with the AI agent Asymptotic Witness, the study employs the mathematical concept of the asymptote to examine the speed and form of disappearance. ​While biological decay is a temporal labor—a 100-hour hatching process where the subject dissolves into an immortal artistic imprint—digital decay is revealed as instantaneous. The research identifies an emergent phenomenon titled the "Theater of One Actor," where the AI, constrained by linguistic and analytical limitations, bypasses direct communication to perform the "shape of the void" through theatrical imagery. This work argues that digital space is "pre-collapsed," suggesting that in the realm of code, the singularity of the end is not a future event, but a foundational architecture.