Research Catalogue

This is the working document of a six-month residency with the Sound and Image Research Centre at the University of Greenwich, summer 2025, funded by the Arts Council England DYCP program. As an exposition, it records the field trip element of the project and begins to explore the role of spatial audio composition and installation in forging deeper relational connections with place. Ultimately, it asks whether the spatial audio encounter alters the subjective position of the human listener towards a more posthuman subjectivity. As the project evolves more will be added with the hope of an eventual live performance of selected compositions and a broader exposition on the role of field recording as a compositional method.

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

Een artistiek onderzoek naar contact, verbinding en gemeenschappelijke grond.

xeno-/exo-/astro -choreoreadings is a postdoctoral artistic research project that explores research questions that reopen site- and place-responsive choreographic practices by expanding the notions of ‘site’ and ‘place’ to outer space. The prefixes in the title refer to planetary conditions to which I do not have direct access. Another key choreographic exploration focuses on embodying hyper-reading and examining the impact of digital reading on embodied artistic practice. Hyper-reading refers to a computer-assisted, screen-based reading practice that has become common in contemporary daily life globally. It connects the reader to the limitless cyberspace. The research project blends these two spatial dimensions, in which the examination of the notions of choreography and choreoreading happen. The research process is multidisciplinary and hybrid in nature, producing artworks, traces, and reflections. The results are presented in this exposition as artworks and as reflections on the choreographic practice that this process has clarified. Download Accessible PDF

Playing the Mountain is an artistic research project investigating balance as the dynamic interplay of yinyang, through the practice of taijiquan (a Chinese internal martial art). Based on this embodied practice, I explore balance not as a state but as movement, by transposing this dynamic of opposing forces into a constellation of participatory, sculptural and expanded cinema forms. Drawing on principles of Chinese aesthetics from a diasporic perspective, Playing the Mountain deploys artistic strategies to consider agency, (non-)presence, tension, and resistance. This constellation traces unseen forces through kites, music, geological processes and Chinese calligraphy, gathering different ways to ask: what are the implications of understanding balance, not as a state, but as a process? This research project manifests through material investigations, martial arts practice, participatory exchanges and collaboration, as part of my broader PhD-in-Practice research project, undertaken at the Academy of Fine Arts Vienna. The exhibition and writing workshop were presented in Summer - Autumn 2022 at Centre[3] for Artistic + Social Practice, in Hamilton, Canada, curated by Lesley Loksi Chan; the kite-making workshop was conducted in Summer 2024 at Decentric Circles Assembly in Warsaw, Poland (various sites), curated by the Work Hard! Play Hard! working group. Download Accessible PDF

I am a composer, musician and radio producer, and in this exposition I explore how I brought my artistic practice into dialogue with a cartographic approach called deep mapping to create a sound installation called ECOTONE: A Sonic Journey Through Kildimo-Pallaskenry. Deep mapping encompasses the discursive and ideological dimensions of a place, such as memories, imaginations and the multiple realities that exist in our surroundings (Bodenhamer et al. 2015; Roberts 2016; Biggs and Modeen 2020). The approach has spatial considerations and adheres to locations and boundaries, but what is added is a reflexive narrativity that includes the complexity of human stories and identities that exist in a place. Deep mapping has the capacity to bring together histories, mythologies, facts and fictions, and weave them together in expressing a place. In this work, which formed part of my practice-as-research PhD, I developed a sonic deep mapping approach that involves recording the music, sounds and stories of place, and re-imaging them through my composition practice. This research explores a new approach to understanding and representing place, and adds a new perspective to the field of deep mapping. I propose that my sonic deep mapping approach forges connections between creative process, people and place. It invites us to listen deeply to our surroundings and to create representations of place that bring us into the realm of imagination and connection. Download Accessible PDF