In my performative and moving portrayals, I work with the untrained performer because of the interesting moment where they first meet the viewer; be it an audience or a camera. In their nonmatrixed representation they do not embody a fictional character, but merely carry out simple actions that nevertheless can have referential or representational significance.

I research how regular movement relates to choreography and how much movement is minimally necessary to create tension. With limited movement material I build on the act of being. The variations in daily gestures (re)create an image without necessarily expressing anything. I want to rethink how we see, are viewed and are made visible.

Digital technology has entered the human body, extended it beyond its boundaries and dematerialized it. My work concentrates on sustainability of the performer’s presence. 

Mediatization is not just the use of media technology, it also means that our worldview is dominated by technical equipment. We often perceive reality through the mediation of appliances, which influences our perception. It has changed the way we view ourselves and how we are being perceived by others. In performance, the gaze of eye or camera changes the object. It’s not only the viewer reformulating the art experience. It is also the awareness of being looked at that effects the way we move.

We are voyeurs, whether we mean to be or not.