Occultation
Live performance, 02 min 02 sec, Longyearbyen, Svalbard, 12.08.2026
Performed during the solar eclipse of 12 August 2026, Occultation brings the body into relation with extraction, consumption, and planetary scale.
The artist approaches a red Mobil oil barrel, picks up a wooden staff, and plants it in the ground. She takes a red apple from her pocket and bites into it with deliberate voracity, holding the piece in her mouth without chewing. She places the bitten apple on the staff and raises it to head height. After remaining in this position, she lowers the staff, removes the apple, returns it to her pocket, and leaves the frame carrying the staff. The oil barrel remains. Birds continue to move through the surrounding landscape.
The apple shifts between food, object, and planetary body, while the oil barrel brings the material history of extraction and fossil energy into the Arctic landscape. The bite becomes an act of consumption: taking into the body while simultaneously marking and diminishing. By holding the piece in her mouth without swallowing, consumption is suspended rather than completed.
In astronomy, an occultation occurs when one celestial body passes in front of another, obscuring it from view. Here, the eclipse becomes both condition and structure for the work: a temporary alignment of bodies in which visibility, consumption, and consequence are held in tension. The human body appears briefly within these larger systems, while the barrel and landscape persist after it has departed.
Occultation
Live performance, 02 min 02 sec, Longyearbyen, Svalbard, 12.08.2026
Performed during the solar eclipse of 12 August 2026, Occultation brings the body into relation with extraction, consumption, and planetary scale.
The artist approaches a red Mobil oil barrel, picks up a wooden staff, and plants it in the ground. She takes a red apple from her pocket and bites into it with deliberate voracity, holding the piece in her mouth without chewing. She places the bitten apple on the staff and raises it to head height. After remaining in this position, she lowers the staff, removes the apple, returns it to her pocket, and leaves the frame carrying the staff. The oil barrel remains. Birds continue to move through the surrounding landscape.
The apple shifts between food, object, and planetary body, while the oil barrel brings the material history of extraction and fossil energy into the Arctic landscape. The bite becomes an act of consumption: taking into the body while simultaneously marking and diminishing. By holding the piece in her mouth without swallowing, consumption is suspended rather than completed.
In astronomy, an occultation occurs when one celestial body passes in front of another, obscuring it from view. Here, the eclipse becomes both condition and structure for the work: a temporary alignment of bodies in which visibility, consumption, and consequence are held in tension. The human body appears briefly within these larger systems, while the barrel and landscape persist after it has departed.
Occultation
Live performance, 02 min 02 sec, Longyearbyen, Svalbard, 12.08.2026
Performed during the solar eclipse of 12 August 2026, Occultation brings the body into relation with extraction, consumption, and planetary scale.
The artist approaches a red Mobil oil barrel, picks up a wooden staff, and plants it in the ground. She takes a red apple from her pocket and bites into it with deliberate voracity, holding the piece in her mouth without chewing. She places the bitten apple on the staff and raises it to head height. After remaining in this position, she lowers the staff, removes the apple, returns it to her pocket, and leaves the frame carrying the staff. The oil barrel remains. Birds continue to move through the surrounding landscape.
The apple shifts between food, object, and planetary body, while the oil barrel brings the material history of extraction and fossil energy into the Arctic landscape. The bite becomes an act of consumption: taking into the body while simultaneously marking and diminishing. By holding the piece in her mouth without swallowing, consumption is suspended rather than completed.
In astronomy, an occultation occurs when one celestial body passes in front of another, obscuring it from view. Here, the eclipse becomes both condition and structure for the work: a temporary alignment of bodies in which visibility, consumption, and consequence are held in tension. The human body appears briefly within these larger systems, while the barrel and landscape persist after it has departed.
Occultation
Live performance, 02 min 02 sec, Longyearbyen, Svalbard, 12.08.2026
Performed during the solar eclipse of 12 August 2026, Occultation brings the body into relation with extraction, consumption, and planetary scale.
The artist approaches a red Mobil oil barrel, picks up a wooden staff, and plants it in the ground. She takes a red apple from her pocket and bites into it with deliberate voracity, holding the piece in her mouth without chewing. She places the bitten apple on the staff and raises it to head height. After remaining in this position, she lowers the staff, removes the apple, returns it to her pocket, and leaves the frame carrying the staff. The oil barrel remains. Birds continue to move through the surrounding landscape.
The apple shifts between food, object, and planetary body, while the oil barrel brings the material history of extraction and fossil energy into the Arctic landscape. The bite becomes an act of consumption: taking into the body while simultaneously marking and diminishing. By holding the piece in her mouth without swallowing, consumption is suspended rather than completed.
In astronomy, an occultation occurs when one celestial body passes in front of another, obscuring it from view. Here, the eclipse becomes both condition and structure for the work: a temporary alignment of bodies in which visibility, consumption, and consequence are held in tension. The human body appears briefly within these larger systems, while the barrel and landscape persist after it has departed.
Bearing
Live performance, 04:39 min, Svalbard, 03.08.26.
Video documentation projected during Intimate Distances – blurborders International Performance eXchange at Bangkok Art and Culture Centre (BACC), Bangkok, 08.08.26.
Against the Svalbard landscape, the artist moves across a plank balanced on stacked stones, holding a block of Himalayan salt in one hand and a spray bottle of water in the other. At intervals, she pauses and sprays the salt with water in repeated sequences. When the plank
meets the ground, the structure continues to hold — the balance shifts but does not collapse.
Through body, salt, water, and stone, Bearing explores interdependence and balance as a continuous negotiation between stability and dissolution, between bearing and being borne.
The Sedimentation of Trust
Beginning after the end (2025)
Himalaya salt and steel
20 x 180 x 15, 5 cm
The number 13 introduces a subtle disruption to an otherwise recognisable order; thirteen salt blocks form a fragile line on a precisely fabricated steel plate, supported by five brackets.
The structure balances between stability and dissolution. The steel insists on precision and structure, while the salt — porous and slowly changing — carries traces of geological time. Together, the materials establish a tension between control and entropy. The work suggests an understanding of time in which endings are not final, but part of an ongoing material transformation.
Installation view Nordnorsken 2026 / The North Norwegian Art Centre
Trust (2025)
Himalaya salt, cloth and blood
42 x 15 x 9 cm
Trust is a condition of democracy, yet it becomes increasingly fragile with distance from power: Am I heard? Am I seen? Bringing together salt and blood—materials charged with histories of preservation, sacrifice, value and belief—the work gives physical form to the vulnerability of trust at a moment when shared facts and collective realities are increasingly unstable.
Installation view Midtpunkt - NK 50 year / Galleri Nord-Norge 2025
IAMNOWHERE
iamnowhere exists between two readings: I am nowhere and I am now here. A shift in perception transforms absence into presence, displacement into arrival.
Through this ambiguity, the work explores the shifting relationship between identity, place and belonging. Rendered in neon, language becomes both a physical presence and an open question, inviting reflection on how perception shapes our understanding of where we are and who we are.
The work was first presented in the solo exhibition iamnowhere at Muratcentoventidue Gallery, Bari, Italy, in 2024, alongside the video work Surrender and the photographic series Mnemosyne.
Exhibition documentation
Seven Times the Color of the Sun
North Norwegian Art Centre, Svolvær, Norway
4 October 2025 – 4 January 2026
Curated by Adriana Alves and Vanina Saracino
Photography: Kjell Ove Storvik
Work details
2024
Neon wall sculpture
Transparent glass tubes filled with neon gas, transformer
100 × 14 cm
Edition 2/3 + 1 AP
TOGETHER ELSEWHERE
Together Elsewhere originates from a thirty-minute site-specific durational performance in 2024, carried out on a platform in the sea off the Helgeland coast in Northern Norway, where the artist grew up, against the backdrop of the Seven Sisters mountain range.
Leaning against a staff held to her chest, the artist maintains a fragile balance, dependent on the material, the body and the surrounding elements. The work considers the shifting relationship between physical presence, belonging and the possibility of being elsewhere, even while remaining in one place.
The photograph holds a moment from this durational action, where body and landscape meet in a state of tension, stillness and interdependence.
The performance took place simultaneously with artist Wathiq Al-Ameri in Switzerland, with both artists working with the same materials and actions in different geographical surroundings.
Together Elsewhere — PANCH, Switzerland, 30 August 2024
https://panch.li/together-elsewhere/
Exhibition documentation
Seven Times the Color of the Sun
North Norwegian Art Centre, Svolvær, Norway
4 October 2025 – 4 January 2026
Curated by Adriana Alves and Vanina Saracino
Photography: Kjell Ove Storvik
Work details
2025
Pigment print from durational performance (2024)
Hahnemühle Photo Rag 305 gsm
Oak frame with anti-reflective glass
100 × 171 cm, Edition 1 + 1 AP
80 × 47 cm, Edition 5 + 2 AP
CAPITAL
Live performance, Longyearbyen, 17.09.2024 / 17 min
Arctic Action - What Happened to us? International Performance Festival, Longyearbyen, 2024.
CAPITAL uses language, metal, sound, repetition, and escalating bodily force to examine the consequences of systems built around accumulation and value. Poverty, distress, debt, ignorance, depletion, deprivation, starvation, and emptiness emerge as the counterweight to capital – conditions produced or intensified by unequal distributions of resources, power, and wealth. Through repetitive actions, industrial materials, voice, and sound, the performance builds from resonance toward increasing intensity and rupture. Developed within the geopolitical landscape of Svalbard, CAPITAL extends beyond its specific location to address a universal tension between accumulation and depletion, wealth and deprivation, growth and its human and environmental costs.
A MOUTHFUL
Live performance, Spitsbergen Art Centre, 14.09.2024 / 30 min
Arctic Action - What Happened to us? International Performance Festival, Longyearbyen, 2024.
A Mouthful uses wheat grain, stone, gravel, and repetitive bodily action to explore survival, consumption, endurance, and the fragile relationship between body, environment, and sustenance. Through repetition, balance, and the recurring number seven, nourishment and vulnerability meet geological matter in a ritual-like cycle of holding, release, and destruction. Developed within the Arctic landscape of Svalbard, the work considers our dependence on the material world that sustains us and the precarious balance between nourishment and depletion.
Arctic Presence
In Arctic Presence (2023) a solitary point of light stands poised between golden darkness and Arctic blue. The lamppost marks human presence within a terrain shaped by energy extraction and geopolitical interest. Infrastructure tied to the coal and diesel appears both necessary and intrusive. The light offers orientation in the darkness, while the environment bears traces of vulnerability and climate change. The work reflects on how technology and nature coexist in the Arctic, where resource management and the future remain under continuous negotiation.
Pigment print on Hahnemühle PhotoRag 305 g, Oak + AR glass
69 × 85 cm
Installation view The North Norwegian Art Exhibition, Nordnorsken 2026 / The North Norwegian Art Centre
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Listening Station
Listening Station (2023) depicts the EISCAT Svalbard Radar poised within the Arctic landscape, its vast structure turned towards the sky. From 78° north, the radar observes interactions between the Earth’s upper atmosphere and the solar wind, registering movements of energy and particles otherwise imperceptible to the human body.
Technology becomes an instrument of listening, extending human perception beyond the limits of the senses. Against the stillness of the snow, the structure appears at once monumental and strangely vulnerable. The work reflects on our desire to observe, measure and understand forces beyond our immediate perception — and on the increasingly intimate relationship between technology, knowledge and the Arctic environment.
Pigment print on Hahnemühle PhotoRag 305 g
80 × 60 cm