Approaching ‘every project’ as an ecology one could hardly still call it ‘a project’. By breaking with common aspects of the project, such as its temporality and its input-outcome relationship, my practice produces forms that are more open and comfortable towards complexity and confusion but are at the same time more compatible with the many ways in which we learn, think and play. My process balances tactics like getting into a flow and getting lost, as I see them as each other’s productive counterpart.
I am an artist with a curatorial practice, adopting the role of the curator to directly fall from it, which gives my practice a crossover characteristic. I am committed to creating horizontal structures that facilitate collaborative spheres for cross-disciplinary learning. Spheres, in which I focus on ties and bounds, information and resources, to make my practice inherently sustainable rather than concentrated on its intrinsic logic.
Informed by an interest in learning innovations, grounded in the experience of being educated within an innovative curriculum that formed my awareness about the act of learning itself, I employ pedagogical tactics and theories within my process. This usually results in long-term investments in certain ideas and subjects resulting in a doubled practice where learning is both the producing and that which is produced. To communicate this doubled outcome, I develop ways, materials and tools that feed into new investments. As such, I appropriate methods coming from social design, but having them informed by non-linear structures we encounter around us, like digital networks, chaotic processes to form playful tactics. The array of forms resulting from this approach, deploy action-based, discursive and performative techniques that support and sustain this ecological process.