The Documented Artistic Research Project Division Dialogues: On the Components and Practice of Juggling explores a methodology emerging from juggling practice. The point of departure is the identification and naming of a method common in the field of juggling, termed reduct-construct. The project investigates how this method can be translated across domains: first into sculptural object-making, and subsequently into archival work. In this process, juggling techniques, sculptural components, and historical documents are all approached as materials that can be broken down into elements and recombined into new constellations. The research positions historiography as a creative, generative practice—one in which history becomes a resource for experimentation, artistic inquiry, and the articulation of new perspectives.Through the research process, we follow how a practice evolves as its underlying sensibilities are identified and extended into artistic domains beyond juggling. The project engages with historical figures and their appearances in newspapers, while also opening onto broader existential questions. In this way, the work demonstrates how artistic practice, when reflected upon and translated across contexts, can generate new forms of knowledge and modes of expression.

The PhD project Conflicted Embodiment: Dancing Transatlantic Migrant Dances proposes Conflicted Embodiment as both a concept and a set of practices that can address and strengthen a critical subjectivity of dance, performance, and education from a migrant position. The project departs from the experience of a migrant dance practitioner, who, upon entering the European dance and performance field, finds their artistic work becomes a site of intricate historical and colonial entanglements.This artistic research contributes to the field of dance through critical practices and methodologies of dancing, scripting, dance education, fabulation, choreography, and auto-ethnographic writing. The artistic proposal promotes the juxtaposition, disjunction, and differentiation of dance traditions and practices.This artistic research proposes a decolonial critique of the contemporary European and Western dance field by engaging with the persistent tensions of translation and the mash-up of different dance traditions. It provides an embodied approach to the ongoing struggle of coloniality and the challenges of migrating from the souths to the norths. Through the concept and practices of Conflicted Embodiment, the project develops a specific vocabulary for practitioners to address the effort involved in orientation, translation and crossing borders. By approaching conflict from a generative perspective, Conflicted Embodiment aims to investigate the constitutive tensions of acts of embodiment in dance practices.Grounded in collaborative dialogues and local exchanges, Conflicted Embodiment shifts the focus from the conflict between embodiments and their contexts and suggests that embodiments themselves are already conflicted, trans-individual sites.

Mud in the Machine argues for a relationship-centered dramaturgy for VRlarp. Theoretically, the work frames role-playing in virtual reality as a posthumanist practice, using new materialism to emphasize entangled agencies and relational becomings between human players, characters, and technology.

By embedding human relationality and embodied player skills ("mud") into a virtual environment, VRlarping functions as an act of resistance against algorithmic herding and the commodification of digital interaction.