The thread that runs through my work is the theme of creativity - how it is experienced, theorized, performed and leveraged. Using my preferred mode of figuring things out, I make diagrams that map paths through texts, conventions and conversations: books on specific topics or essays by particular authors, decision-making processes or collaborations in and across organizations, visual records of studio visits with other artists, or even the occasional family portrait. Mostly, my diagrams are based on hermeneutic explorations that are specific to a site or to an occasion.

Most are closely related to the arts, dealing with the artist as citizen and with beliefs and habits that permeate art worlds. This may sound solipsistic, but as the arts have since the sixties been increasingly framed in relation to economy, sciences and politics, most recently under the heading of Creative and Cultural Industries on the one hand and as Art as Research on the other, this is an entry into a wide range of issues.

What fascinates me in any context is how people (myself included) attempt to make sense of specific contexts and scenarios, including through metaphor and other forms of visual and embodied reasoning. The emphasis is on the activity, the operative aspects of diagramming. With that, activities that allow for feedback loops, performance lectures and forms of audience interactions - much as in teaching - have become central aspects of my work.

Thus, when I write, my texts are often preceded or at least accompanied by diagrams, and I have found working out a syllabus, editing a book or curating an exhibition to be closely related activities.