Site-specific intervention in the white cube of an exhibition space, where every 15-minutes during the exhibition hours a hand-built indoor air channel system spits out excess waste and gravel gathered from the industrial park of Baia de Tejo, located right next to the studios of Pada. 

Named after Cinderella, a folk-tale underdog heroine who was treated as an inferior within her family. Cinderella stamps similarly were considered inferior to postage stamps, and therefore illegal to use for sending mail. The core narrative of Cinderella have roots in folklore from across the globe throughout history from Ancient China to Greek mythologies. The series of illegal custom made Post NL stamps represent 80 pictures or single lost shoes around the world, telling a contemporary narrative of Cinderellas. Later shown with Stigter van Doesburg at Nap+, 2025 and MadMeg in Amsterdam, 2026.

Around 4000 documents demolished and processed into paper dust assigned to this address, Robert Fruinstraat 52, a former place for the city archive itself.

Blade Pitch Scores 1,2,3 2.0 are second-edition of scores sourced from the jumps at women’s free programmes held in ISU Championships in Boston, two weeks prior the exhibition opening. By translating the physical movements of skaters jump landings into a musical score, the work transforms something inherently non-musical into a playable composition, examining the intense, often hostile nature of high-performance sports like Olympic figure skating.

Scores on a Cold Ground (2025) are second edition based on the ISU Championships in Boston, two weeks prior the exhibition opening, set of three miniature rinks (Gold, silver and bronze) are marked with stickers to indicate the landings of the jump, bringing attention to the immense psychological and physical strain athletes endure, framing the act of skating not just as an athletic feat but as a form of calculated precision under extreme stress.

Hot & Cold Conference takes place on the weekend of 21st and 22nd of March, within the same dates as across the world conferences and celebrations are held from UNESCO to national industries, celebrating the 2025 being the year for glacier preservations. Mimicking an official conference set up, the podiums work as objectives for the oral presentation sourced directly from site - set of four conference speakers transmit a dialogue between temperatures, from glacier outlets and lagoons to boiling 100 Celsius from geothermal waters that bubble up from underneath.
Within this binary setting, a formal invitation to sit and listen is offered - reversing the narrative from human held settings into something without proofread transcription, while folders with western musical notation hold the abstract transcriptions of the recordings as conference objectives.
Combining site-specific research and field recordings, the four-channel audio installation consists of recordings made with hydrophones and other microphones, saving 'liquid data' of these geographical dialogues we don't actively hear happening. (link)

A landscape is temporary, it always changes. Tree trunks are like reservoirs, little data banks; they store sound. However the function is very much determined; either they are resource for goods, or they are protected as heritage. The 10 meter long stitch refers to an act of reparation and reconstruction in a UNESCO heritage site, where different forces stretch the landscape.

The contrast in between the constructed landscapes and nature can be realised how birds are inhabiting the electricity lines. The 12 conference speakers transmit the body of the birds. Their communication- and alarm calls introduces us what joy and urgency sounds like at the same time. Site-specific focus in The Netherlands, the audio consists of Amsterdam wildlife footage and field recordings made in Moordrecht, which is one of the last places in the Netherlands where wooden electricity poles still run energy. (link)