guest
Artist Statement
'Through developing experimental installations I seek ways to experience the fluidity of
the physical and the mental/virtual realms, dissolving their distinction created by language.
Addressing the conflicting duality of stability and temporality I work with ceramics and other
tactile materials that constantly change over time, in combination with sound, digital media,
performance and audience interaction.
Based on the circulation of energy, I regard matter as a process wherein I approach sound as
a tactile body and seemingly static sculptural materials as time-based media. Within making I
take part in the manifold courses of co-construction and the flow of signals being
received and transmitted by matter. This practice has guided my work toward the feminist
discourse on ecology, entanglement, situated relationalities, and the correlation of individual
and collective consciousness.'
Listening, understood as a complex interplay of sensory perception, cognition, and intuition,
becomes a key method in my practice, opening a dialogue with the more-than-human
environments humans are part inherently of. Movements such as pouring liquid clay,
recording and processing sounds, collecting tree bark, or sitting in silence inform and are
informed by one another, whether in the studio, on-site, or within collaborations. I integrate
digital audio processing as a constructive part of and a mediating apparatus between the
various analogue participants of installations, objects, sound(s), performers, audience, maker,
site, and temporality.
As I gradually gave more space to movement performers and the audience as active partakers
of my work, I became increasingly fascinated by the inherent power dynamics. Through
focusing on the distribution of control and care within the network of the installation
elements, I have begun to explore the ongoing negotiation of vulnerability and resilience.
'Through developing experimental installations I seek ways to experience the fluidity of
the physical and the mental/virtual realms, dissolving their distinction created by language.
Addressing the conflicting duality of stability and temporality I work with ceramics and other
tactile materials that constantly change over time, in combination with sound, digital media,
performance and audience interaction.
Based on the circulation of energy, I regard matter as a process wherein I approach sound as
a tactile body and seemingly static sculptural materials as time-based media. Within making I
take part in the manifold courses of co-construction and the flow of signals being
received and transmitted by matter. This practice has guided my work toward the feminist
discourse on ecology, entanglement, situated relationalities, and the correlation of individual
and collective consciousness.'
Listening, understood as a complex interplay of sensory perception, cognition, and intuition,
becomes a key method in my practice, opening a dialogue with the more-than-human
environments humans are part inherently of. Movements such as pouring liquid clay,
recording and processing sounds, collecting tree bark, or sitting in silence inform and are
informed by one another, whether in the studio, on-site, or within collaborations. I integrate
digital audio processing as a constructive part of and a mediating apparatus between the
various analogue participants of installations, objects, sound(s), performers, audience, maker,
site, and temporality.
As I gradually gave more space to movement performers and the audience as active partakers
of my work, I became increasingly fascinated by the inherent power dynamics. Through
focusing on the distribution of control and care within the network of the installation
elements, I have begun to explore the ongoing negotiation of vulnerability and resilience.
Artworks
Articles
Media
Highlights
Recommendations
Collections
Shows
Market position
CV
Free Magazine Subscription
Articles, interviews, shows & events. Delivered to your mailbox weekly.