Contemporary practices, whether formed at the margins of art or at its center, increasingly turn to objects, feelings, and affective sites as ways of sensing the world’s interdependencies. It is in this expanded terrain—where material gestures meet emotional topographies—that my work positions itself. I use minimal, portable elements such as bags, blankets, and fragments of the built environment to activate subtle relational shifts. These objects function less as artworks than as catalysts for reconfiguring the spaces and communities they touch, echoing the intimate material vocabulary of Tenant of Culture or the situational sociality of Rirkrit Tiravanija, while moving toward what I call socioplastics: a practice that shapes cultural ecologies through attention, circulation, and shared presence. Across installations, architectural interventions, and landscape actions, I explore how environments can be inhabited as evolving dramaturgies rather than fixed forms. Projects like Trole Building, or the NTNU spatial experiments operate through participation, and temporal openness, resonating with the systemic poetics of Pierre Huyghe and the spatial agency found in the work of Theaster Gates, though articulated here through a quieter, provisional grammar. In the Supernatural and Subtraction series, minimal gestures recalibrate the relation between body and territory, allowing ecological time to surface without imposition. Taken together, these works outline a practice that does not claim centrality but builds attentive worlds—temporary, porous, and affectively charged—where objects, architectures, and bodies learn to think and move with one another.
