• My master's thesis, connected to the graduation project "Identitours": Shifting Identities From the Introduction:The narrative The text examines how identity is shaped, while it presents the process of subjectformation as a constant negotiation with external forces. How do we come to knowourselves when the terms of self-definition are not entirely ours to begin with? Isthere a core, an ultimate self that we can reach? This project aims to show that identity is not fixed, but layered and shifting, andthat while categories, such as gender, age, and motherhood, operate as structuringforces, we can resist binary oppositions and pull towards multiplicity, using thepotential and the generative qualities of language. Person and pronouns change constantly in the narrative: to what extend do genderand grammatical number dictate our understanding of the story? Semantic fluidityand shift, resistance, and the pull towards certain word clusters are battlefieldswhere meaning and identity are resolved and at the same time created, in parallel.Interactivity and the social dimension are emphasized in the story as essential forproviding affordances that help us move away from unconstructive polarities. The thesis There’s a methodological ambition here: Phenomenology, linguistics, narrativepsychology, and social theory come together in a hybrid approach that performsthe complexities of identity through form. The thesis has developed organically from annotations of the text and functions asa critical apparatus, an inner dialogue that shapes the way the story is understood,reinforcing the idea that meaning is constructed in layers, that identity is alwaysin negotiation between text, interpretation, and context. Writing becomes arecursive system, a form of computational poetics, self-examining and self-modifying,shifting meaning through time and perception, mapping how identity is bothemergent and imposed. The arguments go beyond explaining, to enacting theinstability of meaning and the fluctuation of categories. Fiction and critical theory intertwine in a layered approach, in a meta-text thatdoes more than narrate: it dissects, performs, and destabilizes notions of identityand meaning-making, offering both an embodied experience (the protagonist’sjourney) and a meta-awareness of the forces at play (the thesis).
  • Eight masks, eight labels, eight stops in the audio walk I prepared for the XPUB graduation exhibition. Identitours: A transmedia audio walk [external application] The JourneyMy journey starts from the definition: Words set perimeters, but also bridge rivers, carve new paths. The map leads to wondrous and sometimes fantastical transformations in the garden of Buitenplaats Brienenoord: Masks — expressions of virtuality, of the possible as a reality, built with everyday means. Audio pieces guide you through a personal, evolving relationship with labels and exhibit the ways in which I reject, reclaim or reinterpret words. Your walk between points is a performative manifestation of my inner dialogue, the space where meaning and identity are negotiated.The Start (audio)The start is a point in time and a point in space. Surrounded, preceded, followed, extended, completed by other points. I have been called, among others, “complicated”, “naive”, “strong”, “caring”, “smart”, “stubborn”, “crazy” and “wild”. These saturated by context, circumstance and intention words are my starting points in a journey of performing and transforming meaning. The MasksMasks are used in my practice as a primary metaphor, a materialization of the deeply personal answer to the question “What is the way out?” of the boundaries labels set for identity. The whole process of mask-making relates to the building and re-building of identity, to the perpetual performative and relational process of looking at what is available, picking and combining elements, (re-)imagining andcreating new forms of existing. Materials that are salvaged, recycled, forgotten or not fitting anywhere else; carton, paper, scraps from old textiles and broken toys, are used to express virtuality, an endless potential for change and re-invention. In this sense, masksare not used to conceal but to create space and potential. The publication: Shifting Identities A final take on biases: The third and last part of presenting Labels, but not for clothes focuses on "the way out" of the confines of labels. After discussing the impact of labels especially during the formative years in the first public moment, and systemic biasing in the second, this last exhibition focuses on affordances, performativity and virtuality.
  • Leeszaal in Rotterdam hosted on Monday 24 March 2025 a very important public moment. Among the works exhibited was the second part of the project "Labels, but not for clothes". What was presented: A "game", demonstrating how systemic exclusion supports labeling, based on the actual directives of the latest US administration. A video piece with main source material TV ads from the 80's and 90's setting impossible stereotypes through repetition.
  • The project "Labels, but not for clothes" approaches the topic of labeling and stereotyping from different angles and calls for participation and has developed as a triptych. The project had its first public moment in November, in the Piet Zwart Institute, Rotterdam, NL. The purpose of this first part: To show the impact of exposure to biases and labels at an early age. In what ways do words shape us? What was presented: A series of drawings describing a personal experience of growing up surrounded by labels and biases (integrated in the text below). 2 audio pieces: 1 on how people perceive biases and labels and 1 personal story. A soundboard: A small instrument ("Characterization Generator") that treats labels as pieces of sound. How we deal with them is in our hands, like keys on a keyboard. The installation included a feedback form from which a Repository was created.
  • As part of a bigger, collective project and following the subjective map of Rotterdam this project was adapted to fit the city of Groningen. Inspired as always by infrastructure, it grew to include Eemshaven and to pose questions regarding the cost of development and of our increasing needs in energy and data. Below is the video produced from footage of Eemshaven and the city of Groningen, juxtaposing liminal and gentrified (or on the verge of gentrification) spaces and the ever-expanding energy and data factories of Eemshaven.
    An ever-changing mobile population Our mixed paths Our lost orientation Making history that soaks into An angry earthA greedy machine is marching From the end of the worldA new order A dark mirror. We remainStoic like oaksEntangled In deep rooted feeling Or Anchored like house boats In half-deserted portsRocking with the waft The ebb and the tide. In a playful manner, the project also speaks about and celebrates the mundane but magical corners as met by the curious eyes of a stranger. Here are some pictures of the project in its natural environment: SIGN Project Space, commissioned and hosted the work from 26 September to 6 October 2024. The relevant object which compliments the video was created with SIGN's DIY approach in mind. It incorporates elements of temporality, temporariness, orientation as experienced from the viewpoint of the visitor, thoughts on the big issues of the city and 3D-printed GPS logs.

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