I resided in a monastery for 5 weeks, following 170 prayer times, as a non-christian. Decided to start my Master project from an experience, I went there interested in what the isolation, the regulated life and the visuals of the surrounding would do to me and my work. There was barely any conversation, making it like a silent retreat. Undone of contact with friends and family, I spent Christmas and New Years at this monastery, keeping track of its events in a diary that was printed without any censorship on a matrix printer. The pile of prints was presented in an exhibition, visitors could take a part of it home. I also made a silent video of a sisters hands as she spoke of her life there.

I lived in Hungary, Sopron for 6 months, trying to understand the Hungarian state of sadness. With the eye of an outsider and the incapability of understanding the most foreign language, I documented my research and the communicative difficulty in text and image. I took close-ups of found pictures, stalked passers-by in the streets with a very low-res movie camera and wrote a semi-sociological report of my "theories" around the source of this stereotypical sad relation to life. Some said it sprung from the intense lyrics of the national anthem that children learn at the age of three, others said it was a historical thing, but everybody said they were good at football.

This video was made as a placeholder for the performance “The Geology of Thought”. When the performance was not on display, this video was. The voice-over was read by a very semi-professional sounding actor, the text read was our performance script and the visual footage was found online looking for Eurythmy (a German language-motion practice).
The Geology of Thought draws a full circle parallel between the functioning of the rockcycle and the life of a thought inside our brain: a process of sedimentation and crystalisation.

Thinking through how a reader deals with information, an edit on editing comes to life. When our eyes run across a page of text, it becomes meaningful by the activation of the mind. That which was carefully inserted in each sentence unravels itself and is made real again. Diverging voices meet in a series of chapters giving the viewer suggestions for further reading. In collaboration with Christophe Clarijs, the video was exhibited at BORG in Antwerp, Belgium.

In an attempt to become “smarter”, I filled out 360 sudoku games in one month. These 9 booklets contained 2 identical pieces twice, that nevertheless were filled out. The solutions can be found printed in the back.

In physics there is nothing that corresponds to the notion of “now”. The hereness or thereness or nowness of things is determined by (my) body. This video reflects on different ways to speak of the passing time, (circular, linear or liminal) using very different types of footage, yet all focussing on a choreographical element of the footage. The subtitles were read aloud live during the screening of the video, as a lecture-performance. The timing of these lines was not fully technically correct, creating a tension between the text enrolling and my reading pace. Lecture performance presented at St Lucas Antwerp / UAB, Belgium.

This selfpublished book is composed of three stages of water; vast (semi-theoretical essays), condensation (performance scripts) and fluid (prose). Its graphic design alludes to old scientific shapes and uses many found graphics, that are pulled out of context, to serve as autonomous illustrations in the margin.