In recent years, I have developed an interest in rhythm stemming from actions and its power to induce trance-like or meditative states. Ideas such as repetition, performativity, trace and matter are key to my practice. There is a major aspect of continuity in my work linking with an exploration of cycles, where beginning and end meet. My work investigates the possibilities to transport the viewer into a cyclical whirlwind where one loses all points of reference to their surroundings. With the use of repetition, sound or even perspective, I toy with the uncanny and a sense of displacement in order to reach this instability. I use an action and reaction scheme as a reminder of trace, a before and after, contributing to a duration of time. I examine the precise moment in between past and future, the present instant where trace is created. To me, these particular and determining moments are like intervals, where every element comes together and fuses in time. Using performance, video, sound or installation, I construct an environment where the viewer will be immersed. The common thread in my work is the aspiration to play with the physical or metaphorical boundaries that surround us in order to better understand our relationship to the sphere we evolve in. I am interested in processes and explore techniques such as camera-less photography, video projection, camera obscuras or plasterwork that go hand in hand with the development of my ideas. I have recently focussed on the changeability and performativity of material and experimented with ephemeral three-dimensional structures created with plaster and textile that with time shift from one state to another. This evolution in shape resembles a temporal performance. The idea of a lifeline encompassing definite moments is recurrent in my practice. I have developed an interest in contingent elements that I use to suggest the notion of an open work with a life of its own and a duration spanning out of my control. I portray these intentions by touching on the viewers’ senses, through sound, tactility, or vision. I am influenced by ephemeral, time-based sculptures recalling a process or movement that was once fluid. This notion has inspired me to produce works in the three dimensional realm that are reminiscent of a gesture. The outcome of my practice often involves works that aren’t evidently tangible. I have regularly presented video performances instead of live events, as the idea of controlling the frame and angle in order to produce an unsettling effect is key. Another project involved turning a room into a camera obscura and recording in long exposure photography the projection of the outside world onto the inside. These methods of documenting and revealing my ideas push the viewer into an ambiguous zone where the work resembles an illusion. I am continuously informed by early video art from the 60s and 70s. At the time, this medium revolutionized the way in which we perceive actions and was used as a tool to reflect our surroundings. I am particularly interested in the relationship between the subject and their environment, where an everyday repetitive action becomes a meditation on temporality and rhythm. There is a sense of balance in my work where a moment or memory has passed and is lost yet its trace and ‘record’ remains and is gained. I enjoy playing with this sense of shift in positive and negative balance as it links with an in between or indefinite zone.
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