In the age of widespread information, we fall prone to insecurity as we continuously seek out a direction to interact and present ourselves in everyday life. How can we always show our best selves? To whom are we proving our sense of well-being? How can we ever seek true help without losing face? OMG – observation / motivation / glamorisation is a project to research and aim to represent our self-presentations on social media. That seeks to convey our control (or lack thereof) over information about ourselves, by constructing a performance of idealised facades and salvaged identities, and proposing that social media might be a place where we all become a creator, author, and performer to generate and convey fictions. This project investigates a distinction between social and theatrical presentations, to reveal and explore social behavioural patterns as artistic expression.

Anti-Specificity is a creative method – dance-improvisational thinking – based on the test results of earlier process of experiments for the creation and production. The themes of self-questioning and self-reflection are centre of my conceptual practices, together with the notion of Proxemics – a study on forms of non-verbal communication. Anti-Specificity practices and explores issues around communication and collective vision, that indicates the clarity of artistic collective team in the creation process.

Communication is not only with words. The spatial distance that two people occupy from each other and the gestures that fill this space are also part of communication. As a Japanese woman in Europe, as a non-native speaker, the dancer Kihako Narisawa is constantly confronted with the search for the "right" translation. In ≪Have I ever spoken properly?≫ she explores the ways in which cultural and linguistic differences influence the physical space between people and the role that one's own body plays in the discrepancy between idea and word. How can we address the disparity between idea and word, language and movement? How can we submit our stories which comprise subjectivity and abstraction? Can bodily knowledge apply and contribute to illustrate and enrich our expression with its body language and movement?