Research Catalogue

Body posture is one of the most important topics in flute playing, it has been important for a long time. How should we actually stand and what is exactly right and wrong? Over the years, much has changed in music, which greatly impacts how we as musicians move and stand. Is what your teacher told you, the same as flute teachers ages before told there students?

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

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 ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G", 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), 'Moussa' and 'Gaeton'- 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'.

Thesis of the Royal Academy of Art The Hague 2023 BA fashion and textile Imelda Marcos was the First Lady of the Philippines for 20 years. She is an image of wealth (ill gotten) and the display of wealth. She is real and not real, her possession of wealth is real and not real. The image display of fake wealth by Imelda is not isolated, it is the humour of contemporary culture ‘fake it til you make it’. It is also fuelled by our daily life in the consumption of technology. Instead of criticising these behaviours of displaying fake wealth, we embody them somehow, it intrigues us to the extent of making films such as on Netflix ‘Inventing Anna’ and ‘Tinder Swindler’. ‘Generation fake wealth’ is a group of people whose goal is to portray having abundance in wealth despite their financial capacity. It is this extravagance in life that excites reality. This research will look into the diverse areas of thoughts and great people of our time. It will traverse to different ideologies such as: postmodernism, social capital, the search for beauty in this troubled times and political identity. They are important because they discuss the complex intertwining of realities, the reality itself and its possible multiple copies. The intangible commodity is the image; the image is a reflection of reality but not the absolute truth which we assume to be real. Social media is the main platform for portraying our alternative reality and its discrete influence

Thesis of the Royal Academy of Art, The Hague 2022 MA Artistic Research Writing introductions and quickly pitching my thesis must have become easier by now I suppose. I’ve talked about it so much these past months and to my surprise people get excited when I do. Somewhere along the fragmented lines of my communication I must do something good. I’ve caught myself often in that I keep saying the same thing. Which I suppose I will do again now when people ask me what it is about. It’s a multifocal piece, written my me and my friends, through conversations and interviews, in which we try to deconstruct our notions on intimacy. I guess it’s about (auto)cannibalism, sliminess, sex, love, anglerfish, grinder, bodies, sickness, healing and community too. The body as an archipelago and a guide to how to slowly consume oneself and the other. 

Thesis of the Royal Academy of Art, The Hague, 2022 BA Fine Arts In this thesis, I explore the phenomenon of maternal metamorphosis in the context of performance art. It looks at the lived experiences of mothers against the light of the radical changes they face, altering their form and way of being. This can be under the influence of natural or external events, such as death and the passing of generations or having to deal with the maternal consequences of political forces. It also considers portraying a mother as something or someone else through performance and play with literal and figurative meaning. Maternal metamorphosis can be portrayed in terms of metaphor, like ‘the mother as intangible heritage’ as an image for the metamorphosed deceased mother. Expressing maternal alterations metaphorically by performance can lead to growth and change, and contribute to the broadening of maternal representations and experiences within visual art.