The Artistic Inquiry

The practice has never belonged to a single medium.

Over more than twenty years it has unfolded through choreography, performance, kinetic sculpture, video, curatorial projects, and now material processes.

The medium changed. The question remained:

How does potential become available without losing its freedom?

Early works — Intuition of Form, Philosophy of Walls — examined how form emerges from movement. Later projects — Phases of the Moon, Cage for Air, No Translations, <at>BODY<dot>MOVE, Inappropriate Texts, Kod Epokhi / Zeitgeist — and the curatorial work turned toward transitions between states, and toward how information travels across media and contexts.

Over time my attention moved away from movement and toward what happens between forms: the conditions under which something appears, changes, and disappears.

Aristotle's entelechy — the passage from potential into actuality — accompanied the early work and still holds. The work no longer represents movement. It observes one state becoming another.

Two kinds of time run through this. One is the life, which follows its timeline and its rules. The other is the work, where time is uneven, where a single question stays open across twenty years, and events, places and materials arrange themselves around it.

Extended Moment, made in Bali by the method I call BaliKu, carries this into matter. A composition of living material passes out of its own time, through a long digital state, and returns fixed. The crystal set at the end is the point where potential becomes actual and stops moving. That is the oldest question in the practice, held in a stone rather than in a sentence.

I do not treat media as separate disciplines, but as different conditions through which the same question continues.

The work does not seek conclusions. It stays with transformation: with intervals, translations, and the moment form appears.