The horse girl universe is characterised through brightness, pink tones and girlishness. At its core lies a fascination with horses. This phenomenon drives a huge, thriving industry, which is relying on the dreams and emotional experiences of mainly young girls, shaping their lives through equine themed products. Part of those commodities are horse themed magazines, often written from a young girls perspective, portraying and feeding in the dreams of their audience. Nevertheless, first real life confrontations with the animals themselves, happen at riding schools through the school horses, which are specifically trained to offer a safer learning environment. Making the school horse the central figure in pulling the horse girl dream into reality.

In contradiction, the colours associated with the horse girls realm remain hidden to the horses, since their perception is limited to blue, yellow and grey tones. In “USHI” the discrepancy between the school horse and horse girl universe is highlighted, by using the commonly known commodity of a magazine. Young horse girls are given an insight into the riding school reality, the animals job, schedule and surroundings through the perspective of the protagonist, the school horse “Ushi”. The magazine acts as a gentle educational and reflective tool, providing information through the horse’s perspective to horse enthusiasts. To further emphasise the gap between dreamworld and equine reality, the magazine comes with an extra: a horse stable perfume, bringing the scent of the horses homes, into the horse girls homes. 

Date
2024

Type
photography
research
information design

Video footage from horses POV.

exaggerated artificiality 

“Nothing has been left to chance, there is only controlled space that has been made productive.”

- “DE-AD, Wim Cuyvers (from an essay about Eindhoven)”

In the Netherlands exaggerated artificiality is the known norm. The vast majority of landscape has been planned and constructed based on the dutch approach to landscape management, which is driven by practical needs and a strong aesthetic preference for order and efficiency.
In order to enjoy natural environments, wilderness has been transformed into accessible spaces, resulting in forming a particular perspective on the outdoors, blurring the lines between what has been engineered and what is natural.

Through photographic research conducted in Eindhoven, “exaggerated artificiality” captures temporary traces left behind by the gras seeding machine into the patterns for a woven blanket.
The same way there is a dependence on the warmth of a blanket, when it comes to enjoying a natural environment, there is a dependence on artificiality, since it’s the common norm.
The comfort of the blanket draws an analogy to the comfort, accessibility and safety created through engineering leisure environments. By choosing to translate grass through weaving machinery into an object of comfort “title”, ironically critiques the “technologist” nature, while being a “technologist” object.
How much does nature need to be engineered to be aesthetically satisfying andcomfortably enjoyable?

DATE

2024

TYPE

photography
research
textile design

Produced with EE Exclusives.

“Eden Is Ending” transforms the exhibition space into a hyper-stylized vision of a western garden Eden. A perfect green lawn with no flaws and no actual biodiversity. The objects and artworks placed in the exhibtion reflect the use of western gardens, their design and obsession with curated artificality in western gardens and parks.

The exhibtion transforms through a dinner experience. The only real natural elements are found on the dinner table as food and as the table itself. Starting as an untouched “paradise” the exhibition gets transformed by the dinner guests and the waste they leave behind. The dinner reflect how the natural world provides food and life, but then is often left treated unwell and trashed.

The exhibtion concept and curation was created in collaboration with Valentina Sturn.
Artists who were featured: 
Carl Theodor Seegers, Samuel Haas, Valentina Lian Sturn, Flora sommer, Lotte Böckmann, Steven Dahlinger, Lenz Dreher, Florentine Schäfermeier, Valentin Bauer, Pascal fischer, gwendolin Meta Kovacic, Blanka Fnni Idranyii, Anna Sommer, Elias Tichy, Leon Theodor, Raul Maria Mungenast, Anni Chen and Lydia

Date
2025

Type
exhibition design
curation
visual Identity

Alme

“Alme” investigates how personal connection to places can help to discover extreme changes in the landscape. Through photographic methodology, it documents, what has always been taking for granted, water flowing through the river “Alme” in Florentine’s hometown.
This project is a work in progress. Every year around the same time the river is documented at the same places to create a long time overview of it’s changes.

DATE
Exhibited in Winter 2022, Eindhoven

TYPE
photography
editorial
storytelling

(ver)sammeln

For 10 years, HERMINE e.V. has been sending aid supplies to the European outer borders. In their warehouse, the heating hums. Every Sunday, the team gathers to sort clothes. These are then sent to partner organizations and forwarded to people in various refugee camps at the EU borders. Voluntary work cannot solve problems, but it can fight symptoms. “(Re)gather” looks at the example of HERMINE e.V. and voluntary work that remains invisible to many. Work that shows that the situation at the borders has not improved. Work that shows what is missing for the people on-site. Work for which politics has not found sustainable solutions in the last 10 years. Filmed before the election on February 23, 2025, when the word “migration” dominated the election campaign, this documentary is a call to consider the issue of migration with more humanity again, because fleeing is not a crime.

DATE
Feburary 2025

TYPE
short documentary film

Link to the movie

true character

In collaboration with Basia Pruszynska for KVADRAT, we decided to bring the hard material “REALLY” back to its soft origin - textile. We focused on in-depth dying and texture investigation with a goal of finding ways in which color and texture can enhance REALLY’S natural qualities. 

REALLY is made out of textile waste that used to be thrown away during the process of fabrication. 

Date
2023

Type
circularity
experimentation
material manipulation
photography