Shared Habitat

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	<title>Shared Habitat</title>
	<link>https://sharedhabitat.net</link>
	<description>Shared Habitat</description>
	<pubDate>Wed, 28 Oct 2026 06:32:07 +0000</pubDate>
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	<item>
		<title>HOME</title>
				
		<link>https://sharedhabitat.net/HOME</link>

		<pubDate>Sat, 20 May 2023 21:44:30 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

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		<description>
S H A R E D&#38;nbsp; &#38;nbsp;H A B I T A T

E I L A&#38;nbsp; &#38;nbsp;G O L D H A H NS T U A R T&#38;nbsp; J&#38;nbsp; Y O U N G
	&#60;img width="3021" height="3696" width_o="3021" height_o="3696" data-src="https://freight.cargo.site/t/original/i/9b25f01cffd0fba979048a8cb105352ee25d91a9d2f6b65ace40a5b3b2bc85c7/Nequid_Pereat_Harvest_Eila_Goldhahn_Wells_2026.jpeg" data-mid="253757712" border="0"  src="https://freight.cargo.site/w/1000/i/9b25f01cffd0fba979048a8cb105352ee25d91a9d2f6b65ace40a5b3b2bc85c7/Nequid_Pereat_Harvest_Eila_Goldhahn_Wells_2026.jpeg" /&#62;Above: Nequid Pereat: Harvest, Wells Open Contemporary&#38;nbsp;
 2026, Wells Cathedral, Wells, Somerset.

&#60;img width="2592" height="1944" width_o="2592" height_o="1944" data-src="https://freight.cargo.site/t/original/i/034233f15c098ea6b31273ffd8aeedd05ff07d89b954f14cb8338f28d1569896/Still_Here_Eila-_Goldhahn_2026.jpg" data-mid="253757738" border="0"  src="https://freight.cargo.site/w/1000/i/034233f15c098ea6b31273ffd8aeedd05ff07d89b954f14cb8338f28d1569896/Still_Here_Eila-_Goldhahn_2026.jpg" /&#62;
Above: Still Here, The Faith Art Prize 2026, Westminster Cathedral, London.

&#60;img width="3390" height="3386" width_o="3390" height_o="3386" data-src="https://freight.cargo.site/t/original/i/3882b68767f5b47b340affae671c71b06fb12b6b6fba1c811b1d4614cdb59e48/Movers_Eila_Goldhahn_2026.jpg" data-mid="253767997" border="0"  src="https://freight.cargo.site/w/1000/i/3882b68767f5b47b340affae671c71b06fb12b6b6fba1c811b1d4614cdb59e48/Movers_Eila_Goldhahn_2026.jpg" /&#62;Above: Movers, site-specific movement films, Ecophilia Now by PartSuspended 2026, Athens.

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Above: Steiger Gallery — Call for Concepts 2026CLOUD – WOLKE, Eila GoldhahnSelected for the Vorauswahl, Steiger Gallery, Wassergarten Reden, Saarland, Germany.

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Shared Habitat presents the artistic and research practices of Eila Goldhahn and Stuart J Young, using installation, photography, sculpture, movement, writing and embodied research.


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https://orcid.org/0000-0002-3852-8
	Contact© 2026 Eila Goldhahn &#38;amp; Stuart J Young

All rights reserved.

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		<title>ABOUT</title>
				
		<link>https://sharedhabitat.net/ABOUT</link>

		<pubDate>Tue, 11 Nov 2025 19:20:39 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

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		<description>S H A R E D&#38;nbsp; &#38;nbsp;H A B I T A T

E I L A&#38;nbsp; &#38;nbsp;G O L D H A H NS T U A R T&#38;nbsp; J&#38;nbsp; Y O U N G

The name Shared Habitat describes a common field in which different participants, forms of life and perspectives coexist. What is shared is not a single point of view, but the situation in which different actions, perceptions and processes meet and contribute to what unfolds.

Shared Habitat emerged from the collaborative practice of Eila Goldhahn and Stuart J Young in the early 1990s. Its projects have often developed through sustained relationships with particular places and communities.
In 1993, Shared Habitat initiated the Dartington to Totnes Foot and Cycle Path in partnership with Sustrans. In 2013, it established the Pfälzer Hof Artist Residencies in Idar-Oberstein, Germany, with support from the town council. Since 2008, The Field, a three-acre site in the South Hams, Devon, has become a place of long-term ecological stewardship and artistic research through observation, movement, sculpture and photography.Across these very different projects, Shared Habitat has remained concerned with what develops through inhabiting, observing and acting within a situation over time.

Eila Goldhahn

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Eila Goldhahn is an artist, researcher and educator working across sculpture, installation, photography, performance, film, writing and movement-based research.

Her practice investigates relationships between embodiment, perception and knowledge, and the different positions from which we encounter and make sense of the world.

Goldhahn is the originator of MoverWitness, an embodied practice developed from the Discipline of Authentic Movement and articulated through the MoverWitness paradigm in her PhD, Shared Habitats: the MoverWitness Paradigm (2007). Her research explores embodied and situated observation across artistic and interdisciplinary contexts.

Eila teaches MoverWitness and offers individual and group training in the practice. 

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https://orcid.org/0000-0002-3852-8076

	Stuart J Young


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Stuart J Young is a painter, photographer and sculptor whose work explores relationships between form, colour, material and place.

Having previously worked in biochemistry, his continuing engagement with science and the natural world informs both his individual practice and his collaborations with Eila Goldhahn.

His long-term photographic practice includes Flowers of the Field, an ongoing study of plants encountered within The Field. Through repeated looking and returning, photography becomes a practice of sustained attention — an approach Goldhahn first described as camera-witnessing in Shared Habitats (2007).

Alongside his visual practice, Stuart composes music and sings with Devon Chorale.Contact© 2026 Eila Goldhahn &#38;amp; Stuart J Young

All rights reserved.

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	<item>
		<title>MoverWitness </title>
				
		<link>https://sharedhabitat.net/MoverWitness</link>

		<pubDate>Tue, 11 Nov 2025 19:30:33 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/MoverWitness</guid>

		<description>
MoverWitnessMoverWitness is a practice of embodied observation in which moving and witnessing provide different perspectives upon a shared event, and is originally rooted in&#38;nbsp;Janet Adler's Discipline of Authentic Movement.&#38;nbsp;Shared Habitats: the MoverWitness Paradigm (Goldhahn 2007) emphasised the relational structure of the practice and the distinct perspectives of mover and witness.

The Practice

 MoverWitness is practised over time. Movement, witnessing, speaking and reflection develop attention to one's own embodied experience while making perceptible the differences between how an event is experienced, observed and subsequently described.It forms the ground of Eila Goldhahn's visual arts practice, research and teaching. The practice attends both to the mover's embodied experience and to the witness's observation of movement from a different position.

The dyadic practice can expand into group forms in which participants move and witness within the same unfolding event. In these group forms, Goldhahn uses the term Shared Habitat to describe a common field constituted through multiple viewpoints rather than a single shared perspective.

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Learning MoverWitness
Eila teaches MoverWitness through workshops and small ongoing groups. The practice develops over time through moving, witnessing, reflection, reading and discussion.

Enquiries about workshops, ongoing groups, individual study and training can be made via the contact form.

The next intensive two-day workshop will take place in Bristol in early 2027.

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		<title>Still Here</title>
				
		<link>https://sharedhabitat.net/Still-Here</link>

		<pubDate>Wed, 28 Oct 2026 06:32:07 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Still-Here</guid>

		<description>Still Here
&#60;img width="2592" height="1944" width_o="2592" height_o="1944" data-src="https://freight.cargo.site/t/original/i/dbecf14895c3ea03a17d13bb53f27d1fce7d850f1ec6f3a8cfc04777a96e5ac2/Still_Here_Eila-_Goldhahn_2026.jpg" data-mid="253757740" border="0"  src="https://freight.cargo.site/w/1000/i/dbecf14895c3ea03a17d13bb53f27d1fce7d850f1ec6f3a8cfc04777a96e5ac2/Still_Here_Eila-_Goldhahn_2026.jpg" /&#62;165 cm x 120 cm&#38;nbsp; Pastel over photographic print on canvas, copyright Shared Habitat
Still Here is an image of an empty bed and a source of light, creating a luminous space that appears inhabited although no one is there.
&#38;nbsp; &#38;nbsp; 
The bed may suggest rest, waiting, birth, love, intimacy, illness or death, or simply a place momentarily left.&#38;nbsp; &#38;nbsp; 
The image hovers between presence and absence, and asks what it might mean not to know, but simply to be with what is.</description>
		
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		<title>Nequid Pereat: Harvest Wells Cathedral</title>
				
		<link>https://sharedhabitat.net/Nequid-Pereat-Harvest-Wells-Cathedral</link>

		<pubDate>Wed, 28 Oct 2026 06:04:34 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Nequid-Pereat-Harvest-Wells-Cathedral</guid>

		<description>Nequid Pereat: Harvest

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Responding to the theme of Time...

Nequid Pereat (“Let
Nothing Be Lost”), the inscription on the exterior clock of Wells
Cathedral, forms the title for Eila Goldhahn’s site-responsive
installation located within the cathedral precinct. It engages with the historical fabric of the cathedral through a distinct material
language, reflecting on agricultural,
architectural and human time.


&#38;nbsp; &#38;nbsp; Located within Palm Churchyard, an ancient burial ground enclosed
by the cathedral cloisters, Nequid Pereat:&#38;nbsp;Harvest consists of
approximately 200 reclaimed iron ploughshares each weighing up to 1.5 kg arranged intiuitively in a spiral on
the autumnal cut lawn. Drawing upon the agricultural histories of the
surrounding landscape and the slow temporal rhythms embedded within
the cathedral precinct, the work gathers together tools shaped by
labour and repetition.


&#38;nbsp; &#38;nbsp; Initially appearing as wing-like forms, the tools gradually
reveal themselves as implements of cultivation. Resting lightly upon
consecrated ground, the spiral evokes processes of transformation and
return, proposing a still gathering in which nothing is discarded and
nothing is entirely lost.


&#38;nbsp; &#38;nbsp; Enclosed by the cloister walkways and visible from the glazed doorway
even in poor weather, the site allows the work to be encountered both
directly and from a distance. The spiral of individual iron
ploughshares sits naturally on the grass, where
these abandoned agricultural tools return to the ground from which
they originally derived their purpose and .


&#38;nbsp; &#38;nbsp; Positioned partly beneath the canopy of the ancient yew tree and
carefully distanced from the surrounding graves, the installation
enters into a quiet dialogue with cultivation, mortality and renewal.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
The yew, traditionally associated with endurance, remembrance and
regeneration, reinforces these themes. The spiral form suggests
growth rings, crop circles, pilgrimage routes and cyclical time
itself.&#38;nbsp; &#38;nbsp; 
The work’s low profile encourages slow contemplation and rewards
changing viewpoints as visitors move through the cloisters and
churchyard. The installation therefore becomes both a meditation on
agricultural labour and a reflection on the interdependence of
landscape, human endeavour and sacred time.


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		<title>Putting our House in Order</title>
				
		<link>https://sharedhabitat.net/Putting-our-House-in-Order</link>

		<pubDate>Wed, 25 Feb 2026 12:19:58 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Putting-our-House-in-Order</guid>

		<description>


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Putting
OurHouse in Order

Artists:Eila Goldhahn (lead): Installation and Film footageMike McInerney: Japanese
FluteEeva-Maria Mutka: Dance PerformanceStuart&#38;nbsp; J Young: Photography and MusicProject type: Installation / Exhibition

“The world hangs on a thin thread and that is the psyche of
man.”— Carl G. Jung

Putting Our House in Order is an evolving, site-responsive installation that brings together maps, agricultural tools, found objects, moving images, sound and performance. Through processes of gathering, rearrangement and participation, the work explores how communities navigate periods of ecological, social and political transformation.

First realised in Totnes—a place internationally recognised for community-led environmental initiatives and alternative models of resilience—the project addresses questions of stewardship, land use, memory and collective responsibility. Totnes provided a fertile context in which to begin this enquiry, but the themes at the heart of the work resonate far beyond a single location.

Conceived as a migratory structure, the installation is designed to be reconfigured in dialogue with new architectural settings, local histories and ecologies. Each iteration invites the participation of artists, communities and partner organisations, generating new constellations of materials, gestures and narratives while remaining connected to previous manifestations through an evolving archive and composite map.

Rather than presenting a fixed exhibition, Putting Our House in Order functions as an expanding field of research and exchange. It proposes exhibition-making as a form of collective world-building: an open, adaptive process through which different places can reflect on change, uncertainty and the possibilities of renewal.
&#60;img width="2846" height="3190" width_o="2846" height_o="3190" data-src="https://freight.cargo.site/t/original/i/843cb5fb8daa600b09a5e72748c91ea73d0246e459c7ed259407bc8c1e358d40/FullSizeRender.jpg" data-mid="245324211" border="0"  src="https://freight.cargo.site/w/1000/i/843cb5fb8daa600b09a5e72748c91ea73d0246e459c7ed259407bc8c1e358d40/FullSizeRender.jpg" /&#62;

Installation Wall of Maps with performer Eeva-Maria Mutka

CONTACT: &#38;nbsp;eilagoldhahn@gmail.com</description>
		
	</item>
		
		
	<item>
		<title>The Field</title>
				
		<link>https://sharedhabitat.net/The-Field</link>

		<pubDate>Fri, 07 Aug 2026 17:59:58 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/The-Field</guid>

		<description>S H A R E D&#38;nbsp; H A B I T A T
E I L A&#38;nbsp; &#38;nbsp;G O L D H A H N
S TU A R T&#38;nbsp; J&#38;nbsp; Y O U N G


THE FIELD


“In observation of nature, large and small, I have constantly asked myself the question:&#38;nbsp; Is it the object or is it myself that speaks here?”
— Johann Wolfgang von Goethe&#60;img width="3264" height="1836" width_o="3264" height_o="1836" data-src="https://freight.cargo.site/t/original/i/f7361a2fd3c818219f46e00e9ae4c2f650d4dac86950140bf4847445f39f6ebe/IMG_20161025_164432907_HDR.jpg" data-mid="251079916" border="0"  src="https://freight.cargo.site/w/1000/i/f7361a2fd3c818219f46e00e9ae4c2f650d4dac86950140bf4847445f39f6ebe/IMG_20161025_164432907_HDR.jpg" /&#62;
The Field

The Field is a three-acre, south-facing site in the South Hams near Totnes, Devon. Acquired from filmmaker Rodger Jackman in 2008, it has since been under the stewardship of Shared Habitat.

More than one hundred different species of trees and shrubs have been planted, joining an existing and continually changing population of grasses, wildflowers, hedgerow plants, fungi and other forms of life. Some were already present but unnoticed; others emerged as the conditions of the land changed.

Rather than imposing a human designed landscape upon the site, stewardship has involved observing what happens when deliberate acts of planting and tending coexist with processes beyond human intention. No human dwelling has been built on the land.


Camera-Witnessing
Central to The Field is Stuart J Young’s long-term photographic studies of the plants and flowers that have emerged there. Goldhahn described similar practices as camera-witnessing in her PhD Shared Habitats (2007).

The camera is not simply used to catalogue species or produce botanical photographs. It is a means of sustained inner dialogue and outer attention: returning to the same habitat, noticing what has appeared, what feelings are evoked and attending closely within a changing ecology.

Across seasons and years, the photographs record encounters and make visible changes that can escape ordinary perception: the brief flowering of a species, a plant appearing in a new&#38;nbsp;location, variations in abundance, and the intended and unintended consequences of human stewardship.

Camera-witnessing occupies a space between documentation and participation. The photographer does not stand outside the habitat as a neutral observer. Photographing involves entering the field, moving through it, returning, recognising and becoming familiar with what lives there. Observation takes place from within the habitat being observed.


A Shared Habitat
The name Shared Habitat is literal here. The field is wilderness and garden. Human decisions intersect with processes that exceed human intention. A tree may be planted, but whether and how it flourishes belongs to a larger field of relations: soil, water, weather, insects, birds, neighbouring vegetation and time.

The photographic archive Flowers of the Field has to remain an incomplete inventory. It simply records a continuing act of noticing: by one human witness, Stuart J Young with a camera, encountering the multiple lives taking shape.

Flowers of the Field 


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	<item>
		<title>Hortus Conclusus</title>
				
		<link>https://sharedhabitat.net/Hortus-Conclusus</link>

		<pubDate>Thu, 17 Oct 2024 20:55:30 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Hortus-Conclusus</guid>

		<description>

E I L A
G O L D H A H NHortus Conclusus


&#60;img width="3225" height="2570" width_o="3225" height_o="2570" data-src="https://freight.cargo.site/t/original/i/8306a6d97c6021a33fac8a1d6d64d632cc1859a083e9f596484c42fa71ac8f2c/German-Embassy-Bruessels-2010-Hortus-Conclusus-Exhibition-Eila-Goldhahn.jpg" data-mid="223430893" border="0"  src="https://freight.cargo.site/w/1000/i/8306a6d97c6021a33fac8a1d6d64d632cc1859a083e9f596484c42fa71ac8f2c/German-Embassy-Bruessels-2010-Hortus-Conclusus-Exhibition-Eila-Goldhahn.jpg" /&#62;
&#60;img width="2152" height="1603" width_o="2152" height_o="1603" data-src="https://freight.cargo.site/t/original/i/a372cd53a95a20113d1fa57d0f7a2230e67a32209f3f5597edb0486da23e5055/Landscape-1.jpg" data-mid="249549319" border="0"  src="https://freight.cargo.site/w/1000/i/a372cd53a95a20113d1fa57d0f7a2230e67a32209f3f5597edb0486da23e5055/Landscape-1.jpg" /&#62;
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Conceived for the German Embassy Rineland-Palatinate in Brussels, Hortus Conclusus takes its title from the medieval “enclosed garden”, a motif in art and literature associated with fertility, purity, and both earthly and divine love. The installation reimagines this symbolic landscape as a space of encounter and conception, examining the interconnected themes of human affection, spiritual longing, and regeneration. By revisiting the imagery of the enclosed garden, the work creates a setting that is at once intimate and universal, inviting visitors to consider the garden as a metaphor for protection, transformation, and the possibility of renewal.
Artist: Eila GoldhahnPractice: Art-Science-Ecology-EmbodimentProject type: Installation / ExhibitionMaterial: china clay, flower petals, mixed media on canvas, textile, wireFunders: Embassy of Rhineland Palatinate in Brussels, European Union


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	<item>
		<title>Gardens of Culture</title>
				
		<link>https://sharedhabitat.net/Gardens-of-Culture</link>

		<pubDate>Tue, 07 Feb 2023 19:57:54 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Gardens-of-Culture</guid>

		<description>

S H A R E D&#38;nbsp; H A B I T A TE I L A&#38;nbsp; G O L D H A H NS T U A R T&#38;nbsp; J&#38;nbsp; Y O U N G

Gardens of CultureA two-day conference on artistic, utopian communities co-curated by Dr Eila Goldhahn, Dr Nele Lipp and Brygida Ochaim for KOINZI TANZ and held in&#38;nbsp;Aby Warburg Haus, Hamburg in November 2024.Eila's lecture on her experiences of Dartington, the Collegeand postmodern dance was published in Lettre International in June 2025.


Interval: Dartington in Times of ChangeArtists: Eila Goldhahn and Stuart YoungPractice: Photography&#38;nbsp;Project type: Photo essay / Exhibition /PublicationMaterial: C-PrintsFunders: KOINZI, Hamburg,&#38;nbsp;
The photo essay Interval explores Dartington as a site of cultural memory and transition was exhibited at the Aby Warburg Haus, Hamburg 2023, and subsequently at Birdwood House, Totnes, in February 2024.


&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/1d48d34a7fab6d143989452a03d63c994c4aa55799943c4e5fa645a5bfe91d0f/8-Henry-Moore-IMG_0793a-12x8-300.jpg" data-mid="213454486" border="0"  src="https://freight.cargo.site/w/1000/i/1d48d34a7fab6d143989452a03d63c994c4aa55799943c4e5fa645a5bfe91d0f/8-Henry-Moore-IMG_0793a-12x8-300.jpg" /&#62;
&#60;img width="2340" height="3120" width_o="2340" height_o="3120" data-src="https://freight.cargo.site/t/original/i/3f1c9b0457ce6cc9529e788878de663644a6ffc35288b2fb7b5a6e5054314635/5-Stairs-Dartington-Garden-copyright-Goldhahn---Young-2023-.jpg" data-mid="213454483" border="0"  src="https://freight.cargo.site/w/1000/i/3f1c9b0457ce6cc9529e788878de663644a6ffc35288b2fb7b5a6e5054314635/5-Stairs-Dartington-Garden-copyright-Goldhahn---Young-2023-.jpg" /&#62;
&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/c90e0f2143830ec3fd40c890aebcdedeebe0f13fe033d812a6e2dc26a55ad530/7-Rearside-IMG_0781-12x8-300.jpg" data-mid="213454485" border="0"  src="https://freight.cargo.site/w/1000/i/c90e0f2143830ec3fd40c890aebcdedeebe0f13fe033d812a6e2dc26a55ad530/7-Rearside-IMG_0781-12x8-300.jpg" /&#62;
&#60;img width="1464" height="2163" width_o="1464" height_o="2163" data-src="https://freight.cargo.site/t/original/i/51a0e9fddb2f7bad1d663b5e78c8e79e66b942a520adaff5e4e2af8fe8d6f818/4-Twelve-Apostles-IMG_20230430_232325_resized_20230605_081551565.jpg" data-mid="213454482" border="0"  src="https://freight.cargo.site/w/1000/i/51a0e9fddb2f7bad1d663b5e78c8e79e66b942a520adaff5e4e2af8fe8d6f818/4-Twelve-Apostles-IMG_20230430_232325_resized_20230605_081551565.jpg" /&#62;
&#60;img width="5359" height="3574" width_o="5359" height_o="3574" data-src="https://freight.cargo.site/t/original/i/f8a6bc63c9adab319f65ed0afaa9a760c97fdb44d459bdc54e44d4e26be5cce1/2-Foxhole-IMG_8921.jpg" data-mid="213454480" border="0"  src="https://freight.cargo.site/w/1000/i/f8a6bc63c9adab319f65ed0afaa9a760c97fdb44d459bdc54e44d4e26be5cce1/2-Foxhole-IMG_8921.jpg" /&#62;


Comments:“Beguiling and haunting — a comment on a fading, beautiful thing.”


“Fascinating, insightful commentary on the changing life of Dartington.”


“Profound and thoughtful, with strong visual acumen.”


“An excellent and beautiful composition. Meaningful images of change.”


“Very, very impressive.”
</description>
		
	</item>
		
		
	<item>
		<title>(Un)marked Boxes</title>
				
		<link>https://sharedhabitat.net/Un-marked-Boxes</link>

		<pubDate>Sun, 03 Jan 2021 14:53:05 +0000</pubDate>

		<dc:creator>Shared Habitat</dc:creator>

		<guid isPermaLink="true">https://sharedhabitat.net/Un-marked-Boxes</guid>

		<description>

E I L A
G O L D H A H N


(Un)marked Boxes
Artist: Eila GoldhahnPractice: Art-Science-Ecology-EmbodimentProject type: Site specific installations&#38;nbsp;Material: Wooden crates, upcycledFunders:Dartington Trust, UK
Delamore Arts, UK
Obliteration and the fear of death are important aspects of collective narratives and the survival of the human species is a deeply inscribed, instinctual concern, surfacing with great power at times of environmental peril, war and willful human destruction.
Societies and their collective experiences contain an energy, whether mystical or scientific, to try to determine the course of the human and planetary history. Experiences of collective movement and dance and an imagined collective body inspired these installations with packing crates. In the face of the current climatic and geopolitical tensions this work seems all too real.


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