Space of the Nameless is my expansive and unrestricted approach to art as a practice of intuition and relation. Although my own body appears within the work, it is not presented as a personal story or character; the body functions instead as material ecology, a vessel through which energetic states become perceptible. My work is less about identity or medium and more about energy as a source of knowing: how it flows through the body, shifts between form and formlessness, and continually shape-shifts over time. Transformation, transduction, and transmission each refer to this continual movement of energy—its capacity to change state, to pass through different materials and bodies, and to reveal unknown knowing. I connect dance, sound, visual art, materiality, and electronics to sense, embody, and transmit these states.

My practice is open-ended, often a minor gesture (Erin Manning) that happens with or without human audiences, entertaining invisible presences and ancestral forces. It unfolds as a devotional process that begins in the microcosmic orbit of the body to extend into macrocosmic rhythms, and the larger field of space and time. In this orientation, the body is not the subject but the portal: a site in which energies move, dissolve, and reconfigure beyond the boundaries of selfhood.

Energy never dies; it changes state. This principle of perpetual energy—present in Buddhist, Daoist, and Sufi traditions—guides my practice as a counterpoint to systems that enclose and commodify energy as labour, productivity, or self-worth. Against this scarcity logic, I seek to open spaces of metamorphosis that support the work of collective imagination and the sacred rebirthing of life.

My works flow as a continuum, and rather than falling into project or medium, they interpenetrate each other endlessly. The triad of Tantra (embodied practice), Mantra (sonic exploration), and Yantra (visual scores and diagrams) is a way to orient the visitor through their permutations. Together they form a practice devoted to porousness and to the possibilities of being present and attentive to the world by listening to the waters coursing through our bodies.

The Mind Rave is an immersive experience created through dance, a live electronic soundscape, public participation and the interaction of various objects in space. The public is compelled to partake through objects that can be activated during the performance: cylindrical head pieces (carefully worn as ‘attention cocoons’), turquoise scented jelly (to be held in a handful) and broken mirrors (used to direct the light onto the performance stage). The experience generates a ritualistic and meditative space where the participants lose themselves in time. The impermanent installation galvanises a space of heightened yet soft haptic sensoriality, which can never be repeated a second time: each experience is unique to the specific iteration.

Giulia Casalini (curator)

“…it was a remembering but not in [an] easy woolly domestic way, [but] as in a remembering of the wild, terrifying and beautiful core of the universe, like a de-construction of everything that individuates - a calling to a home that is vast and unknowable.”

Sophie Hughes

(artist & curator)

[COLLAPSE, London] felt like such a privilege to witness that aching and beautiful act of collective grieving (which is one of the many wonderful things I think it felt like).

In amongst the collective there were all the very individual expressions of exhaustion and the vulnerability was sad, beautiful and made me feel angry and protective.

Collapse, yes but I also felt some comfort in the rest it promised after.

Passers by were very into it. A German tourist mum was suggesting to her children it was the “stress of the world” another guy was saying how sad it was (in a complimentary way) and another man who I think worked in the building was really delighted by it and kept exclaiming “Why not?!”

Nick Kaplony (artist)