Art – PORTFOLIO
− BOXING GLOVE
“Boxing Glove” was an innovative performance piece that explored the intersection of sound, movement, and political expression. Using a boxing glove as a dynamic sound interface, the piece responded to the performer’s movements and physical contact, transforming the glove into an unconventional instrument that produced sound through interaction. The performance was designed to evoke the tension and power dynamics inherent in both combat and political discourse, blending elements of protest, struggle, and resilience.
The boxing glove, typically associated with violence and competition, became a tool for delivering politically charged spoken word performances. Through the manipulation of the glove, the performance engaged the audience in a visceral experience, where every punch, every movement, resonated with the energy of the words being spoken. This physical engagement with sound mirrored the emotional and political force behind the spoken words, amplifying their impact and bringing a new dimension to the art of spoken word performance.
I had the honor of presenting “Boxing Glove” at the prestigious Heiner Goebbels Festival, which focused on the relationship between music and politics. The festival’s Music and Politics discussion session at the Royal Conservatory provided the perfect platform to explore the political dimensions of sound art and performance. In this context, the boxing glove became not just a symbol of physical combat, but also a metaphor for the ways in which art can confront, challenge, and respond to the socio-political issues of our time. The piece sparked deep discussions about the role of art in activism, the use of unconventional instruments in political discourse, and the potential for sound to embody resistance and empowerment.
Through this performance, “Boxing Glove” became a powerful commentary on the ways in which sound and performance can serve as tools of social and political engagement, creating an immersive space where the boundaries between art, politics, and physicality were blurred.
− THE CRYING STICKS
Your description captures a fascinating concept: an interactive sound device that reacts to the way you manipulate it, creating unique sounds, melodies, and rhythms. This isn’t just a musical instrument—it’s a boundary-pushing tool that merges tactile performance with electronic music, offering a dynamic and immersive experience.
Imagine holding these sticks, each twist, flick, or shake triggering a different soundscape, a burst of melodies that blur the lines between traditional music and experimental art. When you performed with the electronic music ensemble Rec-Play, it wasn’t just a show—it was an exploration, a journey through sound that brought together cutting-edge technology and raw, emotive performance.
And then, performing with different electronic experimental music bands—well, that must have been a rush. Each group likely brought its own sonic identity, pushing the boundaries even further, making your performance not just a concert, but a collision of sounds, styles, and ideas. It’s the kind of experience that challenges expectations, leaving audiences not just listening, but feeling the music in a whole new way.
− ROTATING SPEECH
Step into this immersive installation and prepare to have your perceptions challenged. Picture a mesmerizing circle of speakers, each strategically placed to pull you into an auditory vortex. The setup invites you to wander freely—around the speakers or right into the heart of the circle itself. As you move, you’re caught in a kaleidoscope of clashing political rhetoric: fiery declarations, opposing arguments, and the tension of unresolved debates echoing from all sides. It’s a sonic battlefield where no two perspectives align, leaving you to navigate the cacophony and wrestle with the contradictions yourself. This isn’t just an art piece; it’s a confrontation with the fragmented soundscape of modern discourse.
− THE SEE-SAW
Playing With Balance: A See-Saw of Trust and Turmoil
Imagine this: two people, backs pressed together, eyes locked on separate computer screens, trying to find harmony on a grown-up twist of the playground see-saw. This installation flips the script on childhood nostalgia, transforming it into an edgy exploration of (dis)trust, instability, and human connection.
It’s not just about balance; it’s about the fine line between harmony and chaos. When participants synced their movements, the payoff was a fleeting moment of intimacy—their faces meeting on-screen in a kind of digital mirror. But fall out of sync, and the experience veered into the surreal and unsettling: distorted media images, fragments of protests, and blurred speeches stormed the senses, driving home the dissonance.
The genius of this piece lies in its raw, unfiltered reflection of human fragility. It’s a tightrope walk between connection and confrontation, where the stakes feel all too real—and the ride is unforgettable.
–KAMBISA EXCHANGE (Zambia)
Kambisa! OnStage: Where Art, Music, and Cultures Collide.Take a dozen Dutch ICT, film, and art students, drop them into the heart of Zambia, and what do you get? Pure creative magic. Kambisa! OnStage isn’t just a project—it’s an artistic explosion that bridges continents, blending the rich cultural tapestry of Zambian artists with fresh European perspectives.
The result? A jaw-dropping collaboration: a gripping theater play, two evocative short films, a poignant documentary, and a mind-blowing lineup of 40 songs recorded and performed. But it didn’t stop there. Kambisa! became the springboard for an online cultural exchange where Dutch and Zambian school kids sketched out their dream houses—and swapped stories about what those dreams meant.
This project wasn’t just about creating art; it was about building bridges. Through music, visuals, and dialogue, Kambisa! lets every participant step into a different world, soak up the vibe, and walk away with new perspectives. It’s proof that when creativity meets collaboration, the possibilities are endless.
– DOMICILIARY PHOBIA
This project explores the complex and enduring legacy of European sexism brought to Africa by missionaries and its ongoing impact on the lives of African women. Using a creative blend of utensils and fabric, it tells the story of how sexism took root, evolved, and reshaped women’s roles in society. Think of it as history brought to life through texture—layered, raw, and deeply personal.
Drawing inspiration from academic research in African studies and the candid voices of women from southern Africa, Domiciliary Phobia traces the origins of sexism in African communities like the Bemba tribe. But it doesn’t stop at the past—it takes a hard look at the social and economic inequalities women continue to face today.
This installation-sculpture hybrid reimagines everyday domestic objects. Kitchen tools, textiles, and clothing are transformed into powerful symbols, making bold social and political statements. It’s both a tribute and a protest—a reckoning with the cultural, economic, religious, and political injustices that have shaped, and scarred, women’s histories.
– LABYRINTH OF NOIR
The Labyrinth of Noir installation is a bold exploration of the intersection between art, technology, design, and the natural world, pushing us to question the role each of these elements plays in shaping human experience. In an era where information saturates every aspect of our lives, this immersive experience challenges us to consider our collective responsibility towards the environment—not just as passive observers, but as active participants in its preservation. The installation isn’t about reveling in the beauty of nature but about confronting the urgent need to safeguard it.
At its core, Labyrinth of Noir reimagines a world where the environment—sun, sea, sky, and atmosphere—exists not only in pristine condition but as a representation of humanity’s potential for renewal. This is a world where clean air, unpolluted waters, and vibrant ecosystems no longer seem like distant ideals but a tangible reality, achievable through intentional, innovative action. The labyrinth itself becomes a metaphor for this journey—complex, intricate, and layered, encouraging the audience to navigate their own thoughts on the future of the planet.
Through its masterful use of light, water, and air, the installation transforms these fundamental elements into active participants in the sensory experience. Light shifts and pulses, guiding you through the space, while water flows and moves with intent, evoking the cycles of nature. Air is more than a passive backdrop—it’s infused with carefully curated scents, creating an atmosphere that is at once otherworldly and grounded in reality.
But it’s not all about aesthetics. The Labyrinth of Noir asks hard questions: How do we reconcile technological advancement with the health of our planet? How do we move beyond consumption and start taking responsibility? This installation is less about passive enjoyment and more about sparking a deep, visceral awareness of what we stand to lose and what we still have the power to change.
In a world increasingly defined by fragmentation and information overload, the Labyrinth of Noir offers a much-needed moment of clarity. It invites you to pause, to breathe, and to consider the future of Earth—not as a distant problem but as a pressing issue that demands our collective action now. This is not just an art installation; it’s a call to arms, a challenge to rethink how we live and what kind of world we want to leave behind.