The starting point for this series of works was my fascination with an online photograph of the Maltese oil tanker Erika, a few seconds before before her stern disappears below the water surface.
I made a grid of 30 concrete blocks of equal size (15x15x15cm), which were placed in the Western Scheldt Estuary in 2013. The colours of the blocks corresponded to the colour scheme in the final image. I left them in the sea for a year.
30 blocks, each 15 x 15 x 15 cm
Gradually the work developed into a search for what was lost when Erika started her journey towards the bottom of the sea; and why the image gripped me so strongly in the first place. A search on the internet confirmed her birth year, her history, her past names, her 7 sister ships, all of which had technical and material defects. Erika became a person - who had died, or disappeared, or who had never really been there.
A series of etchings made during a 3-month residency at the London Print Studios (2013) were a further exploration of this idea.
Bipolaris is a 30-minute essay about the fundamental difference in the way our two brain hemispheres experience the world. Through fictional scenes, interviews, documentary footage and a soundscape, these two parallel worlds are depicted and intertwined. The film is a poetic portrait of the deep-rooted paradox that seems to reside within us, placing a question mark at the heart of modern Enlightenment thinking: the idea that we can predict or replace human experience with our logical thinking.
At the edge of the Moroccan Sahara a man contemplates his nomadic past and the turn his life has taken, whilst scientists in a German lab analyse deep-sea mud cores to unravel the Earth’s history. Scylos is a short film made in collaboration with Peter Mann. It premiered at Visions du Réel, Nyon (CH) and IFFR Rotterdam in 2021.
This contemplative film is composed from sequences shot in a small desert village on the edge of the Sahara in southeastern Morocco and at the IODP Bremen Core Repository, where thousands of deep-sea mud cores from all over the world are stored, sampled and analysed by scientists, who try to explain cycles of extinction and bloom in the history of the planet.
Silver cast made out of a 3D scan of a cyst in my left breast. This is a work in progress.
In January 2019 I participated in a 10-day research programme in Tiznit, Morocco, organised by Slow Research Lab. The programme was a collaboration between international artists and the local community. Tiznit is located on the Targua oasis, 90 kilometres south of Agadir. Today, much of the oasis is in a state of neglect. This programme was set up to create more awareness among the local population of the importance of the place and to give the oasis a new lease of life.
Text written as part of a creative workshop with Perdu, Amsterdam about my time working as an image editor for a multimedia tour guide company. Image drawn with graphite and pencil.
Curator Sasha Burkhanova-Khabadze: ‘The thought experiment in the exhibition Bodies of Water is not only to undo the idea that bodies have to be human; rather, it is to help our imagination to grasp that the human is always inevitably more-than-human…The three art projects, coincided in the exhibition, enable alternative ways of thinking about the ‘waterly ethics’, mutual responsibility, and developed practices of care — specific to the human-water relationships, explored by each artist.’
This work is based on the trilobite Calymene Siveter, which was found in 1996 in Herefordshire (UK). Trilobites constitute a class of extinct arthropods most of which lived in the sea. The installation was specially designed for Galería Tajamar, in downtown Santiago (Chile). The gallery space is in an old kiosk, which stands in a square between 4 towerblocks. These towers, the plaza and the surrounding shops were built in the distinctive concrete modernist architecture of the ‘60. For the space, a 3D scan of the trilobite was blown up to life-size proportions.
In The Minds of Others (Anonymous) is an ongoing collaboration with Chilean artist Maite Zabala in which we meet each other for short working periods in different parts of the world. Past residencies and exhibitions have included: The Banff Centre (CA), The Art Gallery of Alberta, Edmonton (CA), Arquetopia, Puebla (MX), and The Museum of Contemporary Art in Santiago (CL).
This public artwork is an integral part of the facade of a new construction project in the centre of London. An irregular pattern of lightboxes, made out of limestone, introduces a playful element in the classical, vertical order of the facade.
Esa Architects and Westminster City Council had expressed their wish for an artwork to be developed for the facade of 26-32 Oxford Street and for the art to be an integral part of the building fabric.
This work was developed during a work period in the desert village Tisserdmine, in the Tafilalet Region in Southeast Morocco. The sketches and sculptural forms arose from my experience in this environment, a landscape that hardly gives any sign of recognition to the human eye.
10 ceramic tablets made during a residency at the Banff Centre, Canada. They were based on the shapes of grave stones I had seen in a Norwegian village.
Almost Touching is a sculptural installation made on location at the Acme Project Space in London. It was selected by students from the Royal College of Art MA Curating programme to be part of the duo show Delve, together with artist Sarah Duffy.
This film brings together 3 narrative spaces: The mining network below the city of Odessa, The anoxic water of the Black Sea, and the (virtual) space inside a spiral shell.
200 days, 1065 readers, 912 eliminated phrases. One sentence remained.
This short film is the documentation of the systematic deconstruction of a 20-volume history encyclopaedia. The work shows various steps in the course of this process, while sounds in the background form a new story.