Research Catalogue

This public space project is taking place in my local community Sv. Filip i Jakov at the Dalmatian coast in Croatia. It is embedded in artistic research, conducted through the Masters of choreography programme COMMA at Codarts University of the Arts and Fontys Academy of the Arts. Following up my artistic research on the interrelation of space and the human inner world I am investigating what impact a surrounding, in particular the environment of the public space we live in, has on our thinking, feeling, acting, living and ways of being. The purpose of this project is raising awareness about the importance how we shape our common living spaces. In this practice-based research process I am using methods and tools from artistic and academic practices as reflective writing, observation, content analysis, site-specific movement explorations, choreographic tools, interdisciplinary framework, as well as informal methods like dwelling, experiencing and socializing. The outcome of this process is a multilayered context being transferred into an artistic concept. In an unexpected way the artistic creation turned out to be a tool for comprehending not only content and context, but substantially knowing and understanding myself. The results are disseminated as an exhibition with historic and artistic photographies, a site-specific performance, a social event with the local community in the public space of my home village and this written paper.

This exposition is documentation of practice elements and research procedures as part of my PhD: Alternative to What? Exploring Alternative Art Schools Through Spatiality, Participation and Performative Tools. The work presented is a form of immersive and deep mapping of the alternative art school and art pedagogies. For an optimal viewing experience, it is recommended to utilise the Chrome web browser.

This is an open-ended project or research process around extremely slow growth, and the contact between glass and biological material. It aims to implement a model of un-synchronisation, perhaps through the form of a modular installation. The “narrative” and linear scale of materials is reworked to transplant them into a spatial setting where individual nodes embody and reinterpret parts of these materials, creating a field of sonic or visual encounters.

This research investigates the visual narrative built within artworks that deal with colonial memory in Sapmi, and the heavy layers of history in the Baltics, particularly Lithuania during the Soviet era. The research question is: How can themes of Gulag, colonial history and traumatic transgenerational memory be addressed by the artists and by curators in large-scale exhibitions and art venues? The aim of this study is to examine how visual expression is aesthetically communicated by the artists, how their artworks are presented in exhibitions and media channels, and how they are received by audiences. The study examines four cases: artworks and projects by two Sami artists and two Lithuanian artists. The research is conducted as artistic research, where the author acts as the artist, curator, and spectator of the artworks being analyzed. The author has been actively involved in the creative curatorial processes, including designing the curatorial setup of the Sami artists' artworks for their audience. The comparative analysis of the visual expression is done through the reflexive tools of the author. The study's findings provide an outline of the tools that artists use within their artworks, as well as the curatorial strategies applied when presenting those artworks to audiences.

Exploring how artistic experience can be influenced by mimetic recognition of human motion patterns in non-representative kinetic figures. This project investigates imbuing non-representational kinetic figures with human-like movement patterns and examines how these characteristics can modulate the expe rience of such figure(s). The investigation explores whether these motion patterns may facilitate mimetic recognition of human movement patterns and whether such recognition can intensify onlooker engagement with the figure(s) by eliciting affective and emotional responses. Of particular interest is evoking experiences of kinship and relation between humans and non-humans and proposing that the figures’ actions be experienced as an expression of intent on the part of the figures. These topics are approached as artistic motivation and guiding principles for artistic creation and experimentation.

This exposition explores the concept of speculative utopias within artistic research, offering glimpses into potential futures at the intersection of artistic imagination and futures thinking. Developed as textual concepts, these speculative utopias serve as vehicles for envisioning inclusive and sustainable futures, addressing complex socio-economic, cultural, and environmental challenges. The study employs a multidisciplinary approach by integrating aerial photography of Iceland’s landscapes with futures thinking methodologies and artistic research practices. These photographs function not merely as documentation but as speculative utopias that prompt critical reflection on climate adaptation, socio-political transformation, and public engagement. A unique aspect of the research is the use of artificial intelligence (ChatGPT), which supported iterative narrative development and reflexive inquiry. Through this exploration, the research offers alternative visions for resilient futures catalysing transformative dialogue and deepening reflection on the politics of the present while imagining possibilities for the world to come.