Some questions cannot be adequately approached through analysis alone. They require aesthetic, embodied, relational, and dialogical forms of inquiry. They ask for other rhythms of attention and other ways of knowing.

My work in artistic research draws on social sculpture, artistic research, critical pedagogy, group process, contemplative practice, and psychosocial inquiry. I create spaces in which people can think, feel, make, and reflect together with greater depth. This may involve conversation, image, movement, silence, materials, metaphor, gesture, or collective action.

I do not approach artistic practice as decoration, nor as a softer supplement to institutional thought. I approach it as a serious methodology for engaging complexity, contradiction, emergence, and the not-yet-known.

Much of this work takes shape through Not without the Rose, a workspace for social sculpture that I co-founded with Dutch artist Lotte van den Berg.

Together, we convene inquiries in which people practise the craft of being together, especially when what is at stake resists simple answers. These processes often unfold in higher education, the arts, civil society, and organisational life, where individuals and groups are navigating transition, power, uncertainty, institutional strain, and the need for new forms of collective imagination.

At the heart of this work is a commitment to creating forms in which people can stay with complexity rather than flee from it. The aim is not expression for its own sake, but the cultivation of deeper encounter and the generation of new knowledge through shared inquiry.

A central thread through my work is the conviction that artistic and dialogical processes must be able to engage power, justice, social location, exclusion, and institutional habit.

I bring a decolonial and relational sensibility to facilitation. I am attentive to whose voices are centred, what forms of knowledge are recognised, how historical and institutional power enters the room, and how aesthetic processes can either deepen or obscure social reality.

I am especially interested in the ways artistic research can help people encounter what is tacit, embodied, conflicted, unspeakable, or emergent. In this sense, it becomes a way not only of expressing experience, but of generating knowledge that more conventional methods often struggle to reach.

This work may include:

• artistic research design
• workshop and studio facilitation
• social sculpture processes
• dialogical inquiry
• collective reflection in times of institutional change or uncertainty
• trauma-sensitive facilitation around identity, justice, power, governance, and belonging
• inquiry processes for universities, cultural organisations, leadership teams, and public sector partnerships

My facilitative style is rigorous, spacious, and process-aware. I pay close attention to pacing, symbolism, group dynamics, vulnerability, rhythm, and what the form of a process makes possible.