My practice develops by a line of visual art and another line of participatory research. Both lines of work are informed and connected by my activist ideal to offer an alternative to the experience and design of public spaces, based on cultural, psychological and ecological values, as opposed to the capitalist driven ways of owning public space.
In my public space based practice, drawing informs my thoughts on space and my research of what is present when people are absent. Therefore, drawing is the one medium I have been practicing consistently. In line with my site-specific pieces, my drawings invite people to explore a site that I once visited in person. As a research method, drawing enables me to learn from that site from a distance, which position makes me perceive aspects of the site that I would not have seen in situ.
My site-specific installations are interventions in which I focus the viewer’s attention on the spatial environment where I create them. In my projects I approach the background as the foreground: the site itself becomes the art work. My installations reveal hidden traces of historical, ecological and political events that have shaped the site as it is today. My installations themselves are also traces, of my own presence on site, and replace me as a guide by activating the public to follow my trace and explore the site by themselves.
My projects do not always need to result into a material art piece: the artistic research from which I always begin, often stands alone as an intervention that makes a community discover their living environment in a new way. The participative research generates subjective knowledge on the experience and meaning of a site, that deepens cultural, historical, ecological and psychological data. Activities I frequently practice are residence, observation, interviewing locals and mapping.
I believe art should be education and education should be art and this is why both activities have always been intertwined in my practice. As an artist-educator I use research, teaching and curating activities as participatory methods to collectively develop new interpretations of an abandoned site.