A central and inseparable part of my artistic practice is my engagement with artistic research. I see it as a sphere in which practice can be tested and challenged, and where the conditions that shape it can be made visible and critically examined. In this way, new artistic possibilities can emerge, while artistic experience and forms of knowledge can become visible and active within a broader public context.

At the core of my work is a belief in art’s capacity to reorganise the sensible: to shift what can be perceived, heard, experienced, and consequently thought. Art can create distributed sensory spaces in which established divisions between knowledge, experience, technology, place, and public life are unsettled and reconfigured. This has informed my practice across very different contexts, from urban ecologies and contested public spaces to marine environments, scientific infrastructures, and phenomena that lie beyond direct human perception.

I completed my PhD in 2018 at University of Gothenburg and held an artistic postdoctoral position from 2021 to 2023 funded by the Swedish Research Council. I have led doctoral-level workshops and seminars in artistic research at universities and art academies in Sweden and internationally, and have contributed to research review for PARSE, Seismograf, and the Journal for Artistic Research.

In my doctoral thesis, Before Sound – Transversal Processes in Site-Specific Practice (2018), I examined how artistic works emerge through relations between material, technical, spatial, social, and institutional conditions. I developed transversal methods for attending to elements that often remain peripheral or invisible within artistic production, yet actively determine what a work can become, where it can appear, and what it can do.

In the subsequent research project Sonic Visions of the Arctic, I extended this approach to scientific measurement and environmental knowledge. Through collaborations with researchers, I examined how data, images, sound recordings, instruments, and infrastructures participate in producing our understanding of Arctic environments. Within this research, I explored sonification as an artistic and media-critical method “critical sonification” for investigating how scientific knowledge is constructed, translated, and made perceptible.

This inquiry continues in my current work with marine environments, laboratories, and scientific infrastructures. Through sonic and site-specific practice, I explore the capacity of the sonic to render environments, infrastructures, and processes of knowledge production audible, and to shift how they can be perceived, understood, and publicly experienced.