Selected works exploring the relationship between body, movement and landscape can be found in my landscape films, developed as part of my background in landscape architecture. The films investigate site-specific perception, embodied presence and poetic interaction with place. This work forms the foundation for my later site-specific and participatory practice, where similar questions are explored through live performance in public space.

My thesis in landscape architecture

Map in Steps explores how embodied movement reshapes spatial perception and narrative in place. Through three films developed as part of my landscape architecture thesis, the project investigates how bodies moving through space generate alternative understandings of familiar and overlooked environments. By placing people’s lived experiences and movement at the center of spatial analysis, these films demonstrate how perception, choreography and material context co-produce meaning in place. This work provides an early foundation for later practices such as Daydream Dialogues and Together We Are Chaos, where movement, site and narrative continue to emerge in relation to body, place and collective experience. The films are made in cooperation with Mille Jørgensen

State of Animals

“The Animal Empire – You Are Not Invited,” created in collaboration with Linh Le, examines the contradictions of being likened to pests as a minority. The film was intentionally shot in a contrasting location: an idyllic flower field beside a highway.

Opening of the Second Harbour II

“Opening of the Second Harbour II” was made in collaboration with Einar Nielsen for Copenhagen Art Week at Læsø Kunsthal. In this 2015 work we explore intangible movements between defined states such as musician, dancer and actor. The chosen location reinforces the concept, positioned between water and land, path and pause, stage and recreation.

the9steps

In this landscape film we investigate how the body relates to and interacts with its natural environment. This inquiry aligns with de9trin’s engagement with Zeami’s idea that nature and its imagery (hana, or ‘flower’) are aesthetic principles that shape presence and movement in performance. Zeami’s aesthetic concepts of hana (flower) and yūgen (profound subtlety) employ nature as metaphor for artistic presence. Rather than mimicking nature’s outward function, Zeami suggests artists embody its deeper, impermanent substance to achieve a richer aesthetic and poetic quality.