Biography

I create immersive experiences that place existential questions - mortality, identity, loneliness - back into everyday life. Participants become active parts of the work, physically embodying the questions themselves. The tension between reality and art is central in my work. I seek familiar locations - courthouses, gyms, city squares - where participants can be met in their everyday life. By working within these spaces, the content becomes both accessible and inescapable.

I work as an autonomous maker: direction, text, technology and scenography are intertwined in my practice - an approach shaped by years as artistic assistant to Dries Verhoeven.

In Trial against death (2018) – made together with Eva Knibbe – death was sued for injustice in Amsterdam's Palace of Justice, with real judges and lawyers. The question: would you prosecute or defend death?

In the philosophical spinning class Oxygen Debt (2021), participants cycle toward the end of their body, while their amplified heartbeat pounds through speakers on their chests. The instructor asks: can you imagine this heart stopping one day?

Passing on (2026) is an intimate audio experience, where participants walk with their eyes closed to the edge of existence. Guided by only a hand, it's a practice in carrying one another through mortality.

Artistic project

In the center of a city stands a pyramid built from stacked shipping containers. Workers continuously carry coffins upward, level by level, until each is lowered through a hole at the summit. When it reaches bottom, white smoke rises - a visible factory of death in the public square. The experience has two parts.

In part one, you lie in a glass-topped coffin. Through speakers, you hear your life pass by as workers carry you upward. You surrender to being transported toward your end. At the top, you glimpse the sky one final time before descending through a long tunnel into darkness.

In part two, you become a worker. Guided by performers, you carry one of the coffins up the pyramid. Retrospectively, the first part gains new meaning: you're essentially carrying your own experience. You become part of the endless cycle - dying and carrying the dead.

The work operates simultaneously as an intimate ritual for participants and as a visual marathon for spectators witnessing the labor of death. It is a public intervention questioning what happens when we place mortality back in the city center where it has been systematically hidden.

Format: experience and live art installation

Size of audience: 60 per day 

Specific location: unconventional outdoor or indoor spaces

Timing/duration: marathon day performance