Germany (residence), Netherlands, United States (citizenship)
research interests: Participation, socially engaged art, new media art, practice-based research, digitality
I create immersive participatory experiences using original music, narration, visual images and digital interactive techniques. The simulations I build are playful, brightly colored, and surreal; often evoking the aesthetics of early 90’s video games. The ‘win-state’ is designed to be a sense of collective accomplishment, embellished by the awkwardness, difficulty, and sometimes even silliness of achieving this.
My work is motivated by the need to collaborate across cultural divides and disciplines in the pursuit of climate protections/solutions. I work collaboratively with programmers, using values-based design and iterative game design models to create conditions like creativity, access, cooperation, and resilience in collective tasks.
I hold a Master of Music and Graduate Performance Diploma in Opera Performance from the Peabody Conservatory in Baltimore, Maryland. In 2021, I also received an M.A. in Performance Practices from ArtEZ University in The Netherlands. My research into participatory art has been published or presented in the APRIA journal (2020), the Politics of the Machines conference (2021), and the 13th SAR International Conference on Artistic Research (2022), and the Connective Symposium at Fontys University in the Netherlands (upcoming 2022).
Framed by the metaphor of a road trip, this exposition explores the use of participatory performance in building cultural discourse about decision-making during the climate crisis. Using Rancière’s concept of the emancipated spectator, common human experiences such as childhood development of subjectivity (acquired through Lacan’s mirror phase and symbolic order) and image schemas (as discussed in Mark Turner’s The Literary Mind) are explored as possible strategies for co-authoring an artistic landscape alongside spectators. An audio narration accompanies the written work, attempting to explore these theories in the form of a correspondence between the author and her elusive self-awareness. Each track reflects on these individual-but-common experiences as a method for creation. The author concludes that a co-authored artistic landscape may only be accessible to participants who are enticed to set aside limiting social norms in order to explore it, and this is the challenge of the artist.
While systems of human connection like the internet, goverments, and economies draw increasing criticism for enabling the pressures of globalization, disinformation, digital surveillance, and ideological tribalism, many communities are seeking deeper forms of connection in order to foster civic-mindedness, compassion, democracy, and collective action in the face of urgent global challenges. This seemingly double-edged sword of human interconnectedness invites a close look at the innumerable ways people connect with each other and the procedures they use to guide and empower those interactions.
This exhibition reflects on procedural authorship and the potential for an expanded procedural literacy in the arts through the lens of the Connective Symposium, an event held at Fontys University of the Arts in the Netherlands in November 2022 as part of the new lectorate in 'artistic connective practices'.
The importance of designing participatory experiences through values, iterative creation cycles, and participant feedback are discussed, alongside a procedural analysis of three participatory pieces exhibited at the Connective Symposium: We called it Earth by Jessica Renfro and Hadi Asghari, The House of Seasonal Cleaning by Liana Psarologaki and Amanda Hodgkinson, and An Experiment on Agency #7 by Reyhaneh Mirhahani.