WOONMACHINE / Installation / 2010
LLAC: BELGIAN PAVILION VENICE / proposal for the Belgian Pavilion at the Venice Biennale / 2010
LLAC: JUVENILE DETENTION CENTER / Architecture competition / 2009
VIEWMASTER / Instalation-performance / 2007-2009
CUBE / temporary projection space on “Mont des Arts” Brussels / 2008
MULTIPLICATIONS 02 / Video-instalation at Netwerk, Aalst / 2007
BORDER SQUARE 02 / Instalation at Netwerk, Aalst / 2007
MULTIPLICATIONS 01 / Working period at Les Bains, Brussels / Video-Instalation / 2007
TSUNAMI MONUMENT / Monument for the victims of the tsunami / Architectural Competition / 2006
IMPOSSIBLE FIGURES / Scenography and Dramaturgy for a solo dance piece / 2006
ROOM WITH A VIEW / Installation in a private apartment on the 25th floor / 2005
MIRRORING THE CITY / Proposition for an urban installation / 2005
RE-AXIS / Installation at Kunsfort near Haarlem / 2005
BORDER SQUARE 01 / Story about a subversive monument / short story – graphics / 2004
MONUMENTS OF SUBVERSION / Notes on the border square story / 2004
EU is not USA / Essay on the inevitable unclarity of the European Union / 2003
MULTIPLE PORTRAITS / Portraits consisting of combined googled faces / presented as lightboxes / 2003
YEAGER AT FLIGHT / Essay on the impossibility of the nomadic position / 2001
Solo by Ula Sickle
Impossible figures shows a virtuosic metamorphose of manneristic poses. It proposes variations on a set of stills (or poses) and their connecting movements. During the piece, the sets evolve from a purely physical investigation of the relation between immobility (poses) and movement, to a play with the expressive and dramatic qualities of those same poses. From physical to superficial/surface, impossible figures unfolds around the paradoxical couplings: real-impossible and body-image.
The scenorgaphy consists of one curtain that organizes the piece in time and space. It can be pulled in such a way that it either forms the backdrop, the front curtain or a side of the stage. For each set or sequence another position is taken, thus totally redefining the image and direction of the scene.