Scenography as a Co-Performer on Stage. That is my vision of the craft. Scenography should claim space. Naturally, it already does, it is, after all spatial work. But I mean it quite literally: in my practice, I aim for scenography to take up as much space as possible. It shouldn’t solve problems; it should create them. From that tension, interesting spatial work and innovative theatre can emerge. Space becomes the leading force within the performance. In my view, scenography should do the following for the audience: at first glance, it must be aesthetically seductive. On second glance, it should trigger curiosity about its meaning. And with each return, it should reveal more layers of content.

These two principles drive my use of materiality and light. I examine my chosen materials, dissect them, try to transform and manipulate them allowing them to appear in a new form.
Collecting and documenting play a major role in my process and return in many aspects. Sometimes literally, I enjoy collecting objects. I also view research itself as a form of collecting: gathering as many possible outcomes as I can. I collect through writing as well; I write extensively during the creation process to capture fleeting thoughts and gain insight into them. I work in one sweeping motion and rely heavily on intuition, which creates a kind of raw grandness in my process, a quality that often carries over into the final result. The outcome is frequently described as monumental.