Finally after long preparations and many brainstorms with my dear colleague and friend Valters Palaps we were at our first day of filming. A warm and sunny autumn day turned into a dark and obscure evening, revealing things that stay hidden on an ordinary day. Just the way we like it. I have been working very slowly on this project, including the storyline and each detail of the bear costume, and in the meanwhile realizing that this creative process would like to become a neverending story. It does not want to be rushed, it doesn’t want to say too much at once. It wants to unfold step by step. This work is about the slightly scary but at the same time highly exciting unknown. It’s about surrendering and trusting the unknown, allowing oneself that space to accept and settle with the things we don’t know or don’t understand.

I have some great news. This summer me and Valters Palaps are working on a series of short films that are falling in the realm of fantasy. Some serious poetry involving a bear and a fairy-girl and a dinner. An alluring mystery, one of a kind.

At the moment I am busy creating costumes for the film. The story is already written, so we are entering the last stages of preparation. Loking forward to seeing these films come together!

Attēls no Arta Balina




A constantly transforming landscape of broedplaats Lely brings DAY outside the gallery space during the Museum Night. A possibility to catch the rapid changes of the urban scenery that are not dependant on the artists keep the unpredictability of the outcome. Every day the body of the mountain was created by constructors. Every evening this shape was being explored and altered by the bodies of DAY.

De Apple gallery during the Museum Night, Amsterdam (04.11.2017)



“Urban resort” is a site specific performative video. This work is reflecting on the fully changed environments and increase of urbanization in the city of Amsterdam where commercial and artistic spheres merge in a surrealistic outcome. The performance done in the nostalgic landscape on the edge of two worlds: broedplats Lely and new offices. In this story there is a way to escape the sense of a burden by neglecting the everyday duties. “The One time use” ideology is heavily present by giving another meaning to those objects, creating a playground out of building materials.

About DAY

A group performance inspired by a work from the Stedelijk collection – Blue Red Rocker (1963) by Ellsworth Kelly.

Ellsworth Kelly explained his own work in 1996 by stating the following: “I think what we all want from art is a sense of fixity, a sense of opposing the chaos of daily living. This is an illusion, of course. Canvas rots. Paint changes color. But you keep trying to freeze the world as if you could make it last forever. In a sense, what I’ve tried to capture is the reality of flux, to keep art an open, incomplete situation, to get at the rapture of seeing.”

A natural, physical continuation of the Rocker – a movement based performance, reaction to the sculpture through the body movement. We were interested in the space that the sculpture creates – the illusion of a triangle while the sculpture has only 2 surfaces. Interpretation of the balance is a triggering aspect of this work, so we developed it through the movement and interactions with each other and the audience. Starting with rush and chaoes, serving as “tranquillizers”. The movement of leaning on the other person, including people from the audience, created the imagined movement back and forward evoked by the sculpture.




Blindfolded, bare feet, with headphones and a helmet on my head I let go of control and simply follow a rope that leads me through the 40 minutes of an individual experience ‘Door into the Dark’ by an English art collective Anagram. I feel safe, the chances are small that something disastrous would happen to me in an art gallery.  However it is physically and emotionally saturated experience.

From the very beginning of the journey, having to empathize with a blind person is so intense that it makes me cry. The fact that my grandfather is loosing his eyesight makes this experience more dramatic and I wish the introduction story was less confronting. I am experiencing the environment with my hands and body, adapting to a new situation, not being sure about anything and trusting my own senses. These sensations together with my personal thoughts worked so strong that I can now say that for the first time in my life an installation made me cry.

Surrendering to the void, risking, and sometimes feeling lost is not something new to my mind. I like to exercise my ability to orientate and disorientate, to find a way to trust my intuition once again and let undiscovered paths unfold. Usually stepping into the dark is worth the risk, but I have to say that sometimes it gets my feet wet. This time it was just my eyes.

This work has been mentioned in the context of immersive theater, storytelling, interactive/ immersive installation, soundscape and more. I felt like I was inside a documentary film, but instead of my eyes, I was watching it with my ears, feet and hands. It was a new and intensified way of watching a film.


I will feed the world…

One weekend I was cooking and serving breakfast, lunch and dinner to strangers in New York City. The performance was activated when someone from the audience decided to step in and to interact – to feed me and to be fed. Few times I got very hungry because nobody showed up. I was not starting the meal without a guest. Friday dinner turned out to be the most social. I fed 4 people. Performances took place in the gallery space, my room or the bathtub of the artlifelab, depending of the circumstances. The lenght of the spoons is adjustable – 180 and 90cm.


Residency program Edible bodies, Glasshouse ArtLifeLab, New York City, Brooklyn