Blue Would Like to Have a Word is a on-going project on the word blue and its uses in literature and art, particularly feminist works that use the word to communicate things otherwise suppressed or left unsaid. The text-based work combines research and personal history to reveal cracks in preconceptions about mixed identity and power in academic institutions.The book was originally produced as a theoretical thesis project in October 2022.An larger edition is currently in production. To request a digital version, contact me via the about page.

vonsichaus is an on-going project on belonging & contradiction.

EVEN STILTE. EXPOOST, Hoorn, NL, March–April 2023.BEGEGNUNG. European Month of Photography (EMOP) Berlin, March–April 2023.YETYET Abschlussaustellung Kunsthochschule Weißensee at Kühlhaus Berlin. July 2022.vonisichaus, graduation solo show at Lindenstr. 90 (Kang Contemporary Gallery), January 2023.Inner Landscapes, a duo exhibition with Anna Swagerman at Hotel Maria Kapel in Hoorn, NL. May 2022. Read more about the exhibition here.

"What I'm looking for is the inconsistency of memory, its tracks stumbling slightly among objects, a gesture, or just an intention that persists then comes undone in the material." (1)

g\d: a collective activation called upon material to re-organize the otherwise rigid and linear space between galerie gauche and droite in the hall of entry to Palais des Etudes of Beaux-Arts Paris. The activations, informed in part by Lisa Nelson’s image scores and Richards Serra’s verb list were performed in four 10-minute sessions of 3-5 movers, culminating in a 40-minute activation of the space with all movers, 11 in total, participating in the last session. At the beginning of the activation, each mover (participant) was asked to choose and tear a word from the object-list to the right. This association word was to be used as an internal reference point for one’s movement with and throughout the space. Each session was structured with the external calls of “begin”, “share” (to share the association word), and “end”. The material itself, Staubschutznetz (dust protection net), was fixed on one column of the left gallery and drawn across public space into the right, to invite a state of being under construction: as much we ourselves (as movers, individuals, and collectives) are constantly constructing and re-construct- ing our bodies, identities, and relationships to space and time.

(1) Quotation from Exposition by Nathalie Léger.Do/don’t do do do don’t do it, exposition Atelier Huynh at Beaux-Arts Paris. February 2022Baunetze, rubber. ca. 0,5 x 150 x 5000 cm

draft for: a collective activation was performed in collaboration with dancers from the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) with Atelier Huynh of Beaux Arts-Paris. The collective Project Composition invited material-based works to be activated with physcial interventions, in particular, the movement of dancers. The project functioned, in part, as a draft for the collective activation of g\d (see previous work), as well as an opportunity to engage a larger interior space with a predesignated function and circulation. The activation, which included 18 movers, consisted of four 10-minute sessions of 6 movers, culminating in a 40-minute activation of the space with all movers participating in the last session.

Foyer of CNSMDP. February 2022Baunetze, rubber. ca. 0,5 x 150 x 5000 cm

mm ii is the second edition of a film created nearly three years ago for a multi-disciplinary and on-going project, Speak, Memory (see archive).Completed again in one take to a sound work by a colleague’s label, Fritschs, this edition playsback on the memory of the first. While Muscle, Memory I marked the first time I had performed since a misdiagnosed injury in 2014, this second installation focuses on the retraining and relearning of the body – the past few months being the first time in six years that I have been a part of a dance community (Atelier Huynh).The two films, mm i & ii are intended to be displayed together. As new editions are made in the upcoming years, the series will grow as a reconcilatory gesture – both physically and conceptually – towards the resilience, evolution, and fragile memory of the body in movment.

Palais des Etudes, Beaux-Arts Paris. February 2022.

“Some people feel crazy when they try to deal with two contradictory thoughts at the same time, as if they fear they have done something wrong and need to purge the intruding thought before it muddies the water. The point of thinking is that it will always muddy the water. So how do we live with our free thoughts and the mud.” (1)

Free Thoughts & The Mud grapples with the often-contradictory thoughts of identity and belonging. In this exhibition of self-portraits and photographs made primarily in my childhood home in California, I relate to a quotation from Real Estate, the most recent book in the trilogy of living autobiographies, by Deborah Levy. Her works serve as both starting point and closure to difficult questions about what happens between belonging neither here nor there.In the opposite image (lower left), I wear an inverted otafuku mask, which traditionally represents a lovely, always smiling woman who brings happiness and good fortune to the man she marries. Her inverted expression, blank and unwilling , reveals the reality behind societal pressures and expectations.

(1) Levy, Deborah. “Real Estate: A Living Autobiography.” Real Estate, 2021, pp. 56–57.Marienburger Straße 31, Berlin. August 2021Injet & silver gelatin prints mounted on multiplex birch. Variable dimensions

In this exercise of self-portraits with useless found form, I engage once more with my own precarious history in dance and the impressions, perspectives, and/or inclinations that have remained although I am no longer connected to or active in a dance community. I bring together the urge to move with the acknowledgement that my experiences in dance, specifically classical ballet, have been closer to striking a pose and corresponding to preconceived gestures – which can be seen as graphical – rather than fluid movement."In this [she] is unconsciously echoing the definition of form as ‘the diagram between the inner urge of a body and the resistance of the (physical) medium"In this, I attempt to visualise how living with a dancer's body, or rather its echo, creates an unusual relationship to objects that are not characteristically useful or furniture, and by being so create a longing to relate.

Arles, FR. 2021Medium format scans.