I work with art because I am obsessed with forward movement. A forward movement that involves my whole body and my senses. If the movement stops, I go into withdrawal and quickly seek out an artistic process that engages me.

I’m interested in having my artistic practice challenged and developed, both materially and technically, but also through encounters with others and collaboration. That’s why my practice becomes broad, spanning everything from performance, dance, video, sound, sculpture, to social projects.

I see my artistic journey as if I am temporarily staying on different islands. On one island I might explore new material, a new theme, or open a door to a new collaboration. Then I move on to the next island, where the process might look entirely different. I am driven by the idea of using the body’s memory to store a mental and physical image bank of experiences in the form of materials, processes, and encounters. With the help of this image bank, I can return to a specific island if needed.

My artistic relative is street art, where I have been inspired by how the public space can be used to present visual art. I have been inspired to use public space both legally and illegally as a way to meet an audience, but also to explore the urban space as both private and social.

Themes I have explored over the years include private and existential questions, repetitive behavioral patterns rooted in my religious childhood history. Right now, I am working with topics that touch on several points—our relationship to nature and the climate threat, where I draw parallels to a romantic relationship. But also how cultural workers are affected by government budget cuts, in a choreographic collaboration project with flamenco dancer Gabriela Gutarra."