Research Catalogue

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

I dedicate this work to Robin Wall Kimmerer’s call for acts of restoration for our damaged planet. I choose song composition and performance as a way to find pathways for personal and collective restoration. Through the methods of artistic research I write Songs inspired by my experience of ecological grief, academic reading, interviews to song composers, and journaling. As a contribution from my work, I present a new compositional methodology, Sonic Geographies of Hope. This methodology calls for song composers to write songs grounded in personal and collective grief of our damaged planet. I suggest that this type of songs can become an act of restoration and create collective resonance for more hopeful ways of existing and experiencing the world. This methodology is heavily influenced by the work of A. Hazelwood and her methodology Geographies of Hope in Praxis. While it is inspired by it, it focuses mainly on emotional geographies. This work represents a starting point to explore Song methodologies to nurture immaterial geographies for concrete, structural ecological restoration. It is an exploration to find ways to restore yourself to continue to fight for the dignity of the places, more-than human life and people we love.

This research investigates the active role of light as a core compositional element in contemporary music performance by exploring the integration of light, sound, and movement in real-time environments. Traditionally, light has been treated as a secondary aspect of performance, primarily serving as a means of illumination or visual enhancement. However, this study examines how light can function beyond this conventional role, actively shaping musical structure and influencing perception. Through the analysis of live performances and hands-on experimentation with analogue oscillators, photoresistors, and DMX systems, this research explores how these elements function as both medium and material within a piece. My compositions, alongside works by composers such as Viola Yip and Hugo Morales Murguía, serve as case studies, illustrating light’s transformation in performance from a passive visual aid to a structural force. These works highlight how light, when treated as a compositional element, reconfigures performer agency and audience perception. By challenging conventional notions of light in music, this research contributes to ongoing discussions on multimedia composition and performance aesthetics. It proposes an alternative perspective in which light is not merely an accessory to sound but an integral component of musical structure, expanding the possibilities for interdisciplinary performance practice.

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.

In a world saturated with sonic and social noise, this project positions listening as a deliberate, ethical, and relational practice. Through a series of interdisciplinary performances and compositions, I investigate how improvisation and spatial acoustics can cultivate human connection, challenge perceptual norms, and activate space as a responsive collaborator. Drawing on theories from acoustic ecology, performance studies, and architecture, particularly the work of Beatriz Colomina, Paulina Oliveros, Blesser and Salter, I explore how environments shape musical communication and identity. Improvisation functions not only as a musical technique, but also as a method of social engagement and shared authorship. This research embraces openness, embodiment, and collective presence as central to how music is created, perceived, and lived.