[2016] The first time I realised that there is a word for the atmosphere I intend to provoke through my multimedia installations, was when I came across the word uncanny. The uncanny as in a certain moment when something familiar becomes strangely unfamiliar to us. A split second in which we perceive something we thought we knew, yet its old meaning has temporarily been lost. I think this is when time stands still, yet we feel so much alive. After that, something might have changed in us. Or not. 

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[2017] Developing these types of atmospheres, I moved to the literal sense of touch. Armed with sensing technology and silicone, I created haptic interfaces that mediated light and sound. Through the interplay between vision, touch and audition, I invited to sense and question the (non) living. 

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[2018] Through these works I acknowledged that the material used for touch and interactivity has something to say as well. That there might even be a chance that the material we interrelate with says it all. I went on a hunt for material. A material that, without any technological addition, provokes something. A material that ‘touches’ in another way, beyond the sense of touch we generally refer to. 

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[2019] The search led to an extraordinary encounter with a mighty (living) material on a random Monday morning. Its gorgeous brownish translucency, its undefinable smell and asymmetrical textures with an almost skin-like touch provoked strong ambivalent sensibilities. Somewhere along the line between repulsive attraction and attractive repulsion. 

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[2020] They say that, to follow the material is entering a true maze of meanings. Equipped with solid research methodologies that are significant for my artistic work, I guide the visitor through a magic microcosm of multi-sensory revelations and intellectual stubbornness of organic, living matter.