Research Catalogue

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-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. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since 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, to familiarise myself with elements of game design. 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 heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G", 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego") and 'Moussa'- December 2024, January 2025, May and June 2025. Three men of colour and four white men. Who were also targeted, directly and indirectly. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Physical_Metamorphosis is an artistic research project that explores the body as both subject and space through drawing, photography, and image manipulation. Starting from the study of personal shadows and anatomical forms, the project evolves into an investigation of internal metamorphosis—where the body is reimagined as a layered, dynamic landscape. The artistic process and body of work presented here is divided into three main areas: Inside Metamorphosis, Outside Metamorphosis, and Body Shadows. Inside Metamorphosis explores the inner structures and depths of the human body through clinical imagery, such as gastroscopies and colonoscopies. Outside Metamorphosis, on the other hand, is a process of mechanizing chiaroscuro and the shadows of my own body—elements that are ultimately synthesized in the third and final part, Body Shadows. Body Shadows reflects my direct relationship with photography and highlights its fundamental role in both my artistic research and creative practice.

Surge como objeto tridimensional, como espaço reflexivo e relacionalinter-espécies. Um biombo, que pode nos servir como elemento de separação entre espaços, de privação; quer como um objeto que se articula no espaço, resultando em abrigo, em proteção de quem se encontra dentro, um espaço para meditar, para se co-conectar consigo mesmo, com o outro e com os cinco elementos. (Espaço em construção e exposição metodológica e processual)

This exposition contains the complete artistic output and accompanying reflective documentation of the artistic research doctoral project I conducted at the University of Music and Performing Arts Vienna between 2021 and 2024. Free improvisation in music offers a unique field for exploring how artistic practices develop through embodied engagement, critical reflection, and collaborative experimentation. This research focuses particularly on the process of practicing within this context, tracing the evolution of specific exercises and preparatory methods. These were initially tested in collaborative projects with other musicians and later refined through a series of workshops. A central theme that emerged throughout this process is the role of reflection—both musical and verbal—as a vital component of artistic development. This realization culminated in the project Performing Reflection, which established a dialogical relationship between musical improvisation and reflective discourse. The work contributes to a deeper understanding of how structured exercises and reflective practices can support and expand the art of free improvisation, offering new perspectives on its preparation, pedagogy, and performance.

This research consists of the artistic and organizational process of creating a workshop called “Experimental music for children”. In this exposition you can read about how I and my fellow musicians created a workshop for children through eight workshop sessions that took place between February 2024 and January 2025. This resulted in an interactive workshop with children about co-creation, exploration and art making. In addition, this research explores how such a project affects my personal artistic development. In this exposition, you can read about the construction and development of the workshops, and how they evolved into a concrete artistic project. The data collected from the workshops was organised through the merging of critical reflection and analysis. The theoretical part of this research is based on literature and observations of experimental music, art for children and similar experimental music projects. These references serve as material for developing and concretising the artistic vision while shaping the project and ensuring its place in the artistic field as well as the realm of educational research.

One of the aspects Jimmie Blanton (1918–42), best known as Duke Ellington’s bassist between 1939 and 1941, has been most praised for is his tone, particularly its loudness, which has been characterised as “outsized,” “resonant,” “roaring,” and “huge.” While Brian Priestley (2009, 85) observed that tone is often “thought of as god-given,” I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined several possible impact factors, such as his performance technique and instrument, but found none differed significantly from those of his fellow bassists. Eventually, I (partially) found the answer by recreating Blanton’s music. In this exposition, I examine an experimental recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of a 1930s–1940s Ellington performance, both live and in the studio, in a historically informed way, for example, by using historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that specific changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. Using media samples, I review the preparation, recording process, and results, drawing on a combination of visual analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with participants.