Research Catalogue

Under construction

Painted board with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures. Improvised installation on floating timber raft, 2020. Proposal for theatre performance and visual art donation event, 2022. Improvised sculptures made of cheap and found materials were exposed to weather conditions over a few months. Working with the changes the weather was causing to the ad hoc installation, I also made changes until the painting was finished, photographed, then dumped. Someone picked up the dumped painting. The pieces would comprise of an installation for theatre performance. The event would also include a donation of visual art objects. Based on the philosophical concept of impossible objects,

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

As part of the Visual Ethnography master’s at Leiden University, this interactive website invites you to join my interlocutors and me to walk, hear and see with us the Hatertse and Overasseltse fens (near Nijmegen). After four months of fieldwork – I conducted semi-structured interviews, recorded collaborative footage and performed sensory walks – I studied human-nature relationships of educated individuals with extensive knowledge of this area. In presenting the various experiences, I analysed four workable concepts (wind, noise, crowdedness, and pathways) that shape the immersive perception of visitors. This interactive website and creative methodologies used provided me as a visual anthropologist with possibilities to research human-nature encounters within the epoch characterised as the Anthropocene. So, walk with us and experience this extraordinary environment!

Framed by the metaphor of a road trip, this exposition explores the use of participatory performance in building cultural discourse about decision-making during the climate crisis. Using Rancière’s concept of the emancipated spectator, common human experiences such as childhood development of subjectivity (acquired through Lacan’s mirror phase and symbolic order) and image schemas (as discussed in Mark Turner’s The Literary Mind) are explored as possible strategies for co-authoring an artistic landscape alongside spectators. An audio narration accompanies the written work, attempting to explore these theories in the form of a correspondence between the author and her elusive self-awareness. Each track reflects on these individual-but-common experiences as a method for creation. The author concludes that a co-authored artistic landscape may only be accessible to participants who are enticed to set aside limiting social norms in order to explore it, and this is the challenge of the artist.

Approaching Kunstlieder with the background as a jazz interpreter, has challenged me to find, not only, my interpretation of the lieder/songs but to also find my interpretation of my role(s) as the singer on stage between classical music and jazz scenes. Through performing music, the chosen body of work, we are not only repeating and interpreting the music but repeating and interpreting ways of performing it. This research focuses on the role(s) of the singer on stage and the moments between the songs; the open space between one piece of music and another that offers the possibility to communicate and connect with the audience. What happens in these moments? What stories do we tell and how do we tell them? What do I communicate with, through, in - and outside of the lied, the song, the piece of music. What do I perform in the open space between between the songs - my self(s)?