Fludd's Monochords, 2011

The project "Fludd's Monochords" is a reaction on the work of Robert Fludd, a British scientist, alchemist and mystic during the Renaissance, who's work is considered to be just as imposing as controversial. Fludd introduced in his magnum opus "Utriusque Cosmi..." (1617) very advanced studies on the harmony of music, chiefly approached from a mathematical stand.

In outmost creative manners he managed to connect his formulas of harmony to the cosmology he developed earlier. He was able, for example, to link the mutual ratios of musical scales to the motion of certain planets. By means of a series a intriguing diagrams and detailed designs for instruments and buildings, Fludd illustrated his theories lavishly. The absurdity and sculptural potency lead to the creation of the series "Fludd's Monochords".

Allegory of Science, 2010


1) the Original; Gibbs' surface
2) the Concept; space defined as energy | entropy | volume
3) the Experiment; red hot wire thrown onto a white wax surface

On the Social Stability of Measurement, 2010

This performance unfolds a playground in which scientific theory, amusement and masochism are the key characters. In the first part of the performance the lecture "On the stability of the IPK, the International Prototype Kilogram", is traditionally being presented to the audience. A speaker enlists a number of contradictory facts on the IPK and concludes by saying that we 'lost' the kilogram.

The second part of the performance consist out of a performer who diligently tries to comprehend and execute a list of written instructions with the use of a steel apparatus. The long list of numbers and symbols result in an array of compositions with coloured chalk lines trough out the space. Every composition is being registered on a chalk cylinder placed on top of the steel apparatus. The complexity of the instructions and their attainability, demands a high level of improvisation converting seriousness into bizarreness.

The Man and the Little Thunder Church, 2010

In the beginning of the 18th century experimentation with electricity took place on a vast scale. Electro-static phenomena in particular were being investigated and because of their spectacular character were often demonstrated in lectures on physics. From university demonstrations the spectacle rapidly developed into commercial public manifestations where even the bourgeois could be enchanted by the invisible forces of nature.

With the selling of knowledge and truth to a large audience, science began to position itself as serious opponent of the church, a familiar tendency during Enlightenment times. This conflict of science and the church was materialized in a outmost remarkable manner during the public demonstrations; an obscure wooden model of a church acted as a device for the dramatization of science. These so-called Thunder Churches were initially used in order to demonstrate the effect of lightning conductors, however were they constructed in such a way that they would blow up and be demolished by the strike of one single spark. Leaving only the remains of the model and a mysterious cloud of smoke this demolition of the holy church had an enormous impact on the audience and was thus used to convince them of the 'powers' of science.