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 ('Ramadan', 'Mr X'), Filip ('Philip'), and Brandon ('Magna') - August, September, and October 2024. For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), Julien ('Moussa') and 'Gaetan'- December 2024, January 2025, May and June 2025. Three men of colour and five 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'.

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

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'.