A substantial part of my work has involved performative and interactive media — projects that required fusing the technical, the conceptual, the performers and the audience into one coherent experience, synchronizing different strains of importance:

creating a space, creating a moment, creating a feeling…

This perspective led toward the production of modular, reconfigurable systems and connects back directly to my Bachelor's thesis project Raummaschine, which I later expanded in projects like “Imago Caeli” and “Imago Floris” among others. In these contexts, my role typically involved concept development, visual design, programming, prototyping, and technical implementation.

What I gained from this work was a sustained interest in responsive systems in which bodies, media environments, and computational processes continuously influence one another. In “Resonance” tap sounds processed live fed into a visual system that changed the stage. The performers responded to what they saw and heard, new sounds were generated — the visual environment became a participative loop. In “Ex.Pose 360°”, layered semi-transparent projection fabrics wrapped an open-air stage into a walkable light sculpture — the audience was inside the image, and their movement through the space changed their perspective of what they saw. Across these projects, my role was centered on building visual systems that actively shape perception and interaction.

In the most recent time I have been developing methods at the intersection of sensory input, generative processes, and artificial intelligence. This is where I can see a lot of potential for research and dialogue. In “Landscape of Perception”, EEG headsets captured participants' neural activity and translated it into LLM models, generating an evolving visual and acoustic environment — the room responded to what the participant's brain was doing, and that environment in turn affected the brain state. The participants were constitutive of the system — viewers, users, and co-creators simultaneously, through a signal they did not consciously produce.

“Dioptricon” explores similar territory through a different means: an ongoing series of experiments with volumetric light structures in which parallel light rays travel through space in strict geometric planes rather than radiating from a point source. The viewer's position and movement through these arrangements generates the optical experience — they are simultaneously audience and actor without noticing the transition.

In “Reflect”, a concert hall became a space with its own logic. The environment analyzed and translated the orchestra's patterns in real time through light and mirror arrangements. “FAKE” is a hybrid performance, in which dancers moved simultaneously through virtual and physical scenarios — blurring the boundaries of the claimed realities.

A further area of my work integrates scientific and environmental data into spatial media — projects like “Strata” and “Steel & Bytes”, developed in cooperation with the Fraunhofer Institute and the Alfred Wegener Institute. These required making complex, non-visual information spatially navigable. My role combined concept development, art direction, visual design, programming, and technical setup. This gave me a better understanding of how artistic practice can intersect with research-based and educational methodologies.