Research Catalogue

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

Hljómkassar is a project focused on developing and building innovative, directional acoustic speakers from Icelandic materials. Inorganic Resonators were nominated for Product of the year at the Icelandic Design Awards 2024.

Satire is conceptualised as culturally charge, holding potentially powerful effects and impact. satire as painting provokes critical reflection on authorities, tackles values, dogmas, and taboos, disturbs power relations, and plays with cultural forms and identities. Bad news is seemingly everywhere, the is the place were satire exists. my practice utilises the codes of satire: analogy, parody, subversion, and irony, and realised through graphic elements; signs symbols, and icons, to apportion strength of meaning in my work through the lens of critique and entertainment.

This artistic research explores a performance practice that integrates the phenomena of gravity and breathing as extensions of musical expression in improvisation. The aim is to develop a musical language that translates the qualities and characteristics of gravity and breath into sonic gestures, examining how they generate tension and release through both musical actions and silences. The project draws inspiration from traditional Korean music and dance, in which an embodied awareness of gravity and breathing constitutes a foundational approach to performance and interpretation. These cultural references serve as a framework for rethinking musical practice and transcultural awareness. As part of the research process, I undertook studies in traditional Korean dance, the vocal tradition of Pansori, and the percussion instrument Soribuk to understand how gravity and breathing are communicated artistically, verbally, and methodologically across these three disciplines. Insights from this embodied practice were then translated into the context of Western contemporary improvisation. The resulting concept is designed to enhance the performer’s awareness and is specifically conceived for a solo drum set context.

Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? Spanning a period from 2020-2022, “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?

This artistic research project reflects a deeply personal exploration of the ritualistic and symbolic aspects of music, from the perspective of my own practice a soloist. It touches on the idea that the act of creating sound is not merely a technical or performative endeavor, but a sacred, energetic exchange. The fingertips, as the primary point of contact between the musician and their instrument, are seen as a portal—an interface between the inner world of the musician and the outer world of sound, music, and the present moment.