Research Catalogue

Sheila Jordan, an important female singer in the history of jazz vocals, and an exploration of her life and musical characteristics.

This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos. El papel, como material escénico, simboliza la metamorfosis del fuego: puede ser plegado, roto, iluminado y animado, representando los diferentes estados de la llama y la transmisión de energía. A través de la combinación de movimiento, sonido y visualidad, Focaris no solo busca ser una experiencia sensorial envolvente, sino también un espacio de inclusión donde cada espectador, independiente de sus capacidades sensoriales, pueda conectar con la obra de manera autónoma y significativa.

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025. BA Interior Architecture and Furniture Design Summary (8968 words)

This thesis explores the interwoven relationships between women, the textile arts, and its heritage, through a personal familial lens. Beginning with the question of the importance textile-making has held in our lives, I investigate whether engaging in crafting practices can reconnect us with tradition and allow us to re-root ourselves in the lives of our ancestors. Drawing from both historical context and intimate family stories, I trace the lineage of textile practices among the women in my family - my Mothers. These include my mother, grandmothers, and great-grandmothers, whose experiences with sewing, knitting, crocheting, and weaving shaped their identities and daily lives. For many of them, textile-making was an act born of necessity, a survival skill often dismissed as “women’s work” within a patriarchal framework. For me, it is a conscious act and a choice - an exploration, a reclamation, and a form of personal and cultural healing. Through self-taught practice and reflection, I came to realise how textile traditions carry knowledge, strength, and connection across generations. My research, grounded in both historical analysis and storytelling, shows how making can become a language of remembrance and resistance, a way to bridge fragmented identity and reclaim belonging. In honouring the textile legacies of the women who came before me, I have tied myself into their story, not by romanticising their struggles, but to acknowledge their creativity and resilience. With each thread, I reconnect to a maternal lineage that continues to live through my hands.

This appendix is comprised of a small collection of photos that can be examined alongside the thesis 'my Mothers'.