research
This research is grounded in expanded scenography: the spatial, temporal, and sensory organisation of spectatorship, rather than the design of illustrative space.
Here, scenography becomes a medium for complex and difficult-to-represent subjects, and a visual language for working with what cannot always be addressed directly. It operates across performance, installation, film, sound, light, and generative audiovisual systems.
The research focuses on how attention, rhythm, timing, thresholds, and the position of the spectator shape experience from within. The spectator becomes the primary site of the work.
Scenography is understood through what it does: how it organises perception, produces tension, and structures sensory experience. The work treats rupture, distortion, and discontinuity as materials that shape perception, memory, and bodily response. Fear is approached through negative space: what is withheld, displaced, or only partially visible, rather than directly shown.
In projects such as de:manifestation and Dark Patterns, this approach allows the work to stay close to what is often left unspoken, without turning it into direct illustration.