1 Metacognitive Tool (2016-2018) is a video installation, continuous research and performance. It is an exploration on agency, disembodiment and the anthropocentric paradox of humanity's position within nature, and outside of it. While the soundtrack for the performance remains the same, the performance develops through time. The artist collaborates with performers who translate the works research on psychology, philosophy and biology. The work becomes alive with each new presentation, and reflects on the discontinuity of existence.

2 Un/Folding (2015) is a multi-medial installation consisting of a video, book, and laser-printed sheet of wood. The work refers to the traditional act of harvesting in groups and the related communication between human beings and nature. The rise of industries such as machine engineering and beverage industry affected individual agriculture in the 60s/70s, and the individual and culture. The video shows a repetitive action performed in apathy, referring to the mental state of distress: Solastalgia. This is a condition resulting in extreme environmental changes.

3 Mutabili Numerus (OOO) (2017) is a performance based on the synchronisation of rhythms in a group, based on the remembrance of body points. The score is inspired by accupressure points known from chinese traditional medicine (CTM). The performance Mutabili Numerus (OOO) was developed together with the performers Barbara Agostini, Isabelle Sidony Capper, Pinelopi Kefou, Rebecca Korang, Nena Robertson, Beatriz Sanchez. This project is my Graduation Project for MA Art and Science at Central Saint Martins.

Change of Mind; Amphiboly (2014-2016) is a collection of four paintings, that contain venous blood by the artist. It was stored in a glass containing nail polish remover with lemongrass scent. The disinfected blood is invisible prima vacie on the paper. The work addresses the cultural change which comes with the integration of digital communication tools. Which impact does the absence of analogue matter have on the rhythms of the body. One of the research interests for this project is Michel Foucault's critic about a medicalized and institutionalized society.

An Emological Symphony (2013) is a performative installation, that is joining human and technological organs. The outcome of this hybrid action is a bio- musical score coming to life on stage. The performers heart rate, breathing scale, and temperature are being measured through sensors; the data is the parameter for the sound track. The performer is influencing the music, and influenced by it - an interplay between actor and reactor. The work regards current topics such as (over-) usage of technology, politics of privacy in the internet, and the changes of culture.

6 The Contraction of a muscle, as a single cell, or the complete body. (2013), is a video (2:42 MIN), Performer: Nelly Hakkarainen.

7 Deconstruction as a Virtual Component of Construction (2018) is an experimental workshop and textile collection containing physical and mental exploration. Its theme, the identification of self through community and dress, has previously been explored in a project in collaboration with performers in Berlin, where, in six sessions, the artist shared her phenomenological, psychological and sociopolitical research, discussing specific questions with the performers, who then expressed the research physically. The score was defined by the theoretical research and textile pieces or costumes which became the threads of conversation. Questions may include: Does a process of identifying others' action differ from a process of identifying an own(ed) action? How far can one forget self to be able to connect with another self? Under what conditions can fabric become dress, and vice versa?

8 body axe (as per x, y, z) (2018) is a figurative research of the human body and mind in the Anthropocene; an era that is defined by the human impact on natural processes. The sculpture's transit state is symbolyzing the paradox of the Zeitgeist: the increased understanding of nature through science and technology, and simultaneous alienation of the Self, and disembodiment. For this work the artist applies her ongoing research on the collective trauma caused by war and natural catastrophes; focusing on the long-term consequences of such suppressed and inherited memories. Deformed and turned inward the sculpture expresses the dazedness and defencelessness of a body that is plagued by memories, it may not even have experienced.

9 The Human Anatomy is Adorning Itself / T.H.A.i.A.I. (2009-2011) is a clothing collection with a neuro-philosophical approach. It was published in 2011 in a solo exhibition along with the launch of a philosophical-photo zine and video-performance in the studio from Alex Xie in Kreuzberg – Berlin. All pieces together (clothes, zine, performance) created an artistically tailored puzzle work explaining one anothers content with different sensual experiences.The clothes reflect the human anatomy as universal messengers. The wearable objects, which shall remind of the „human basics“ are designed with skin-like colors and textures. By re-creating the complex psychological self with the usage of several skin-like layers the artist simultaneously raises the philosophical question: how many „selfs“ do we own?