Following the phenomenology of Maurice Merleau-Ponty, I am interested in embodied knowledge which goes beyond the Cartesian mind-body dualism.
By multidisciplinary art practice, I aim to radically transform the way we (make) sense and find a world that I did not know existed.
I want to challenge our anthropocentric world view by extending empathy and the circle of care to the more-than-human world.
I am currently investigating the possibilities of 360-video in VR environment to immerse viewers to the experience of another. I want to challenge the artificial and spectacular qualities common to VR contents available by turning to the study of intimacy and authenticity in virtual mediated encounters.
VIP (2018) is my latest VR work, and it presents the experiences of three women with disabilities.
My approach to video art is site-specific. The media of moving image allows me to investigate the human body in relation to different environments. In addition to the process of capturing the movements in different locations, I am interested in installing the moving image in diverse ways. The presentation of video art in public spaces can transform our perceptions and assumptions.
Lupina (2016) examines the relationship of human and natural environment. The work has been exhibited in several locations in Finland and the USA, and it is in the collection of Tampere Art Museum.
For me, the central question in art is about perception. Live art events allow me to experience together with my audience what is here and now. The embodied practice focuses on observing, witnessing, and sharing instead of producing, criticizing, and owning. The purpose of my performances is to give time for the participant to reflect on the self and its connectedness to its environment.
The Work of Art in the Time of Non-Production (2018) is a participatory performance, which invites the audience to attune to the presence of our surroundings. The work was first presented in the A! performance festival in Akureyri, Iceland.
With installation art, I can transform the space in a way that it becomes more visible to the public. Installations have a quality of extending our perception of time and space. By presenting an object in a specific location, I can also stir up ecological and socio-cultural issues that may otherwise stay hidden in our society.
He died for my sins (2019) is a large-scale photography installation about the hierarchical relations between human and other animal.
I have created several works on stage too, in which I have researched the questions of identity. I start the exploration by doing body and movement-based improvisations. Embodied practice helps us to go beyond our rational minds, and that way also reveal unconscious layers of our self and identity.
I have directed and produced several dance theatre works on stage, but my latest work was a choreography for a theatre play in Iceland Enginn hittir einhvern (2016) by Peter Asmussen.
The epidemic of depression, violent outbursts, and riots, as well as the environmental crisis, can be seen as problems caused by the Western Dualisms, such as Body–Mind, Self–Other, Culture–Nature, and many more. A human being, who has an instrumental attitude towards himself and others, severely limits the holistic dimension of his existence, not only towards himself but also towards other people and the more-than-human world.
With artistic research, I aim to go beyond rational knowledge. Through creative sensory practice, I seek to find an embodied understanding that reaches further than intellectualism. I want to celebrate the ambiguity and multiplicity of lives, which can be recognized in art practice with a phenomenological attitude.
In doing artistic research on eco-social justice, I understand that to reveal, and then release us from, modern assumptions (such as anthropocentrism, individualism, mechanism, etc.) I must start from the profound cultural analysis of – not just verbal but also – visual and performative discourses.
Through art, we can imagine what could be, instead of what seems to be.