“I moved to Groningen in 2018 to study International Communication at Hanze University. I was always drawn to the cultural sector but didn’t know how to enter it. Communication felt like a practical entry point, and I sought out cultural projects during my studies. As part of my bachelor’s honors program, I initiated the exhibition Art in Sustainability in 2019 with students from Academy Minerva, including Maaike Meindertsma and Jens Huls, with whom I later co-founded WILLOW Online Art Space. The exhibition was supposed to be at the Energy Academy Europe but shifted partially online due to COVID-19. This experience sparked my interest in digital art spaces. Later, during an internship at Platform BK in Amsterdam, I learned about the complexities of the art world and cultural policies. After my bachelor’s, I pursued a pre-master in Arts, Media and Culture, and I am now in a research master’s program in Cultural Leadership. Throughout this, I positioned myself not as an artist, but as a researcher, writer, and cultural worker.
My practice is research-based, situated at the intersection of art, technology, and ecology. A few years ago, I wouldn’t have imagined working in this space, but my first exhibition already laid the groundwork. Initially, I viewed sustainability in straightforward terms—art made from sustainable materials. Now, I critically examine the materiality of technology and the ecological impact of digital infrastructures.
This mindset led to the founding of WILLOW Online Art Space, a platform exploring digital art spaces. The project emerged in response to COVID-19, when museums and galleries attempted to replicate physical spaces online. These efforts often felt like imitations rather than true digital explorations. We envisioned an online space that would break from the traditional white cube model. WILLOW operates in a hybrid format, connecting digital distribution with physical creation. We organize residencies where artists work in specific locations before presenting their work online. This situatedness is crucial—while the final output is digital, the creative process remains tied to a physical context. For our next residency, we are considering a regenerative farm and an ecovillage as settings, collaborating with the Groningen-based collective WERC to explore ecological and technological themes. As an organization, we are still young and constantly evolving. I now serve as artistic co-director, shaping the program with our core team: Maaike, Anna, Martijn, and Mihaela, with regular interns joining.
“You need artists to reach artists”
Initially, working with artists happened organically and out of necessity—you need artists to reach artists. Maaike introduced me to people at Minerva when I started my first exhibition. Over time, I saw that blending academic and artistic backgrounds led to rich collaborations. Now, I actively foster these entanglements. WILLOW’s artistic programming is rooted in this interdisciplinary approach, though it can also lead to friction, requiring negotiation and compromise. However, I find that the sensitivity and perspectives artists bring—even when they take on more directing and managerial roles within the organization —enrich the process. It’s also beneficial for artists to work in different positions within an organization, however small. Mutual learning and empathy are crucial. When discussing contracts, open calls, or artistic programs, having artists share their experiences and struggles helps shape our approach in meaningful ways.
Currently, I am working on WILLOW’s next residency and exhibition program, set for late spring or early summer, and developing the 2025 artistic program. Beyond exhibitions, I am planning workshops and events that explore ecology and technology. A key question for me is how to be mindful of the tools we use—the materiality of technology, its environmental impact, and its social accessibility. My research increasingly focuses on these themes, especially from an eco-critical perspective. During a recent internship at Creative Coding Utrecht, I was introduced to permacomputing, which applies permaculture principles to technology. This informs my current research on digital archives and the material existence of online spaces.
I see my practice as threefold: academic research, facilitating/organizing, and creative writing. Academic research provides a framework for deep exploration and contribution to the field. I see myself not as a co-director but as a facilitator—someone who creates conditions for artistic exploration, such as WILLOW. Creative writing allows me to communicate ideas in an accessible, playful way. My practice is still evolving, and I embrace that uncertainty. It gives me space to experiment and redefine my role within the cultural field.”