I chose my themes from my global, national, and local communities' struggles. My approach changes as I shift from trying to rationalize to emotional experiencing, or shift from trying to understand it structurally to wanting to recognize it on a personal level.
In this portfolio, I collected a selection of my projects into four often intersecting themes.

INVASIVE ALIEN SPECIES is a collection of fables. I came across an EU regulation “on the prevention and management of the introduction and spread of invasive alien species” and as I followed through the text I had a feeling I was reading a fable, a plant and animal story that tells a lot about our society, like an Aesop fable. Since that, in various collaborations, we tell fables that can show how our imagined communities as the EU, or our nations deal with an “alien”.

IMAGINED KINSHIP is about the fabricated origin stories of nations, about the time when the modern notion of the nation was constructed, and about the consequences of an imagined kinship becoming the primary cohesive force of these imagined communities.

CULTIVATION is a selection of my projects dealing with the institutional mechanisms of reproduction of culture. National agencies, cultural houses, public education, or art education all force a code, a certain way of working, spending free time, or becoming a member of society. Education always has a hidden curriculum, an implicit agenda that manifests in the way a teacher addresses you, in the formations you need to stand as a group, and in the architecture that does not allow you certain movements. In these projects, we try to capture these foundations and try to subvert them.

MEMORIA is about commemoration and representation in public spaces. The projects comment on, deconstruct, and change monuments and memorials, and the political messages behind them.

I never work on a project alone. Since dialogue is the aim, best to start the communication from the very beginning. We try to find suitable forms to present themes.

The direct human connection of performativity is great to convey the dialogue. On stage, we make post-dramatical theater, where we don't create a dramatic arc but a collage-like narrative on a subject. We use documentary elements for example in verbatim citations, but sometimes we change the original materials, for example using a result of a discourse analysis as the lyrics of a song.

We invite people to be part of our dialogues or we facilitate their dialogs with workshops. We organize thematic workshops for adults and for children. We facilitate open-ended workshops in schools. I held workshop series with ten middle school groups, and at many cultural institutions and festivals. We experiment with other interactive forms like audio walk, game night, and motion capture.

Sometimes, we decide to choose a form that does not require a high level of engagement and allows the audience to discover the theme on their own, like in the case of exhibitions as artwork, installations, photos, videos, audio works, and drawings.
Potato print is an important technique for me. Renewable, and if natural paint (egg and charcoal) is used the potato is edible after printing. And the potato is an important “alien” plant in the European culture. It has stopped the large-scale starvation when it was introduced in Europe. It has become an often offensive symbol of agricultural workers or poverty in general. My potato prints follow a path of leftist woodcut tradition.

I use the skill set of carpentry or building constructions made of plants or making musical instruments in many projects.

The majority of my projects are text-based.