A Framework for Reading and Engaging Architecture as Living Performance

Architectural Performance Publication

As a colourblind photographer and image-maker, I approache nature not as untouched territory, but as a mental construct. This project is a reflection of how we project meaning, memory and emotion onto our surroundings.


Through walking, observation, and digital post-processing, these images become meditations rather than reflections. They explore how landscape is both real and imagined. The photographic work highlights a space that exists between physical reality and inner vision.
By manipulating light and colour, the project constructs digital worlds that feel at once familiar and otherworldly, inviting the viewer to step into a perception shaped by sensitivity and distortion alike.


, a figure that navigates between outer space and inner landscapes, between what is seen and what is felt.

Visual Field Notes of the 21 Century Explorer

Perceptual Meditations of Digital Landscapes

As a digital explorer of the 21st century, I navigate through forgotten architectures and transitional landscapes — places where human presence fades and nature quietly reclaims its space.
This photographic series reflects on the act of discovery itself: how we perceive, archive and translate our surroundings once the human narrative begins to dissolve.

Combining visual documentation with spatial awareness, the work becomes both exploration and mirror — tracing the thin line between abandonment and rebirth, memory and mapping.
Each image acts as a fragment of a new cartography, a meditation on what remains when the world reclaims its silence.

Digital Reflections Among Ruins

Since 2024, a continuous collaboration with interdisciplinary designer Fenia Proost has unfolded through photography, video and visual documentation. Her work moves between costume, performance and object design, exploring the dialogue between body and material.

Within this ongoing exchange, the visual language focuses on translating movement, gesture and transformation into image. Each documentation captures moments where costume becomes sculpture, and performance turns into spatial composition.

Through these visual experiments, a shared narrative has emerged, one that connects design, identity and embodiment.

Visual Documentation for Fenia Proost (2022–Now)

Performing Objects

Since 2022, Club Dérive has provided a space to experiment with the visual translation of scenography and architecture. What started as documentation evolved into a broader research on how space can be communicated through image.

Working with photography, video, 3D scanning and graphic design, this ongoing series explores different ways of visual storytelling, capturing how environments are built, experienced and remembered. These experiments have shaped a growing skillset that bridges design, documentation and communication.

Visual Research for Club Dérive (2022–Now)

Between Image and Architecture

The design of Two Towers explored the fortress Schans van Landmolen site in Kruibeke, Antwerp through a dialogue between architecture and scenography, between the static and the temporary.

Using scaffolding materials, the design mirrored and doubled the character of the existing bunker, creating a structure of opposing qualities that both complemented and contrasted the original architecture.

The scenography for LLOSS festival organized the outdoor space, providing shade and tranquility during the day, dance platforms, and functional zones for the bar, ticketing, chill area, and workshop. By echoing the fortress’s form, Two Towers became a central landmark that guided movement and fostered interaction throughout the event.

Special thanks to the LLOSS team for their collaboration and trust.

Scenography Design & Visual Documentation with Club Dérive

Two Towers

Drift Publishing is a graphic-spatial practice that rethinks how we experience architecture, not by capturing it as something fixed, but by engaging with it as something living, shifting, and open to interpretation.

Starting from dérives on the Bijloke site in Ghent, 

 explores how wandering, movement, and observation can become graphic methods. The result: a series of experimental tools like the Drift Fortune and the Cartonographer, where walking becomes drawing and printing becomes a way of navigating space.

Central to the project is the Pauli Postkaart Display, a mobile column that playfully echoes the neogothic architecture of the Pauli building, but trades monumentality for motion. It invites passersby to interact, to pick a folded fortune teller, and to let architecture guide them through coincidence rather than control.

Publishing, here, is not a final step, it’s an attitude. A way to re-enter space with new eyes. Graphic design becomes a method of framing, interpreting, and ultimately transforming how we encounter our surroundings. The act of publishing doesn’t conclude the process — it extends it, putting spatial reflections back into circulation.

Drift Publishing: Where Graphic Design meets Architecture

Pauli Postcard Display

This visual concept was developed as a potential album cover for the Brussels-based music collective Karmaten. Although the design was ultimately not selected, it represents a concise intersection of key elements within my practice.

Combining logo design, photography and 3D scanning, the cover merges simple visual components into a layered composition. Through intentional cropping and concealment, familiar elements become abstracted, creating a subtle tension between recognition and opacity.

Cover & Logo Design

Karmaten

88 is a visual research project that deconstructs the numerical sequence 1–99 into abstract graphic forms. Through fragmentation, numbers shift from functional signs to autonomous compositions, prompting new ways of reading and navigating sequence. The work manifests as a non-linear publication, laser-printed objects and in situ interventions, examining how numerical symbols transform across material, spatial and contextual settings.

Number, Book and In-situ Design 

  88

Concept & Artistic Direction: Simon Breynaert

Recording, composition & Sound Installation: Charlotte Rood

Technical support soundinstallation: Eli Moonens

Productie-assistent Print: Carlos Dekeyrel, Willem Breynaert, Iva Aga, Ethan Canneart

Videography: Ethan Canneart, Simon Breynaert

Threshold Appearance Appearance, Bijloke, Ghent

Architectural Performance (AP3)

Architectural Performance is a series of performances who focussed on the activation of a given space as an active body with the aim to create more environmental awareness.

AP2 is a project in context of a group exhibition (WWFOTRWP) in one of the Tour and Taxis hangars. Through this space AP2 developed new understanding around spatial questioning and spatial change. This naked structure and hanging blue lights narrates a sick space through which we can perceive the exhibition space from a distance. This experience was enforced with soundscapes. Three times in an hour the space became one present body of structure, sound, light and smoke. For a few minutes the architecture came to life and dead right after.

By making a space to enter, the presence and acceptance of the human body and movement through an environment are underlined.

In addition to the collective experience, this work was made possible through collaborations with diverse and cross-disciplinary artists and organisations.

Concept support: Lars Marcoen, Willem Breynaert, Annelies Van Bauwel

Tour & Taxis, Brussels

Architectural Performance (AP2)

How The Chairs Have Turned

Arena Sweet Arena is inspired by the timeless structure of the classic arena, with multiple levels that allow visitors to explore and experience its structural form. The distinctive curvature acts as a guide to the centre of the action, while the diazomas and vomitariums create a captivating interplay of circular and perpendicular aisles, stimulated by structural dance platforms.

One of the most remarkable aspects of Arena Sweet Arena is its interactive nature. Ownership of the velums, the retractable awnings that adorn the arena, is left entirely to the visitors. A system of pulleys allows them to retract or unfurl the velums as they wish, creating a dynamic interaction between the attendees and the environment. The patterns created by this movement are recorded and processed, creating a lasting tribute to audience participation.

Lars Marcoen, Samuel Hoorneart en Simon Breynaert

Cosima Rosie Lagae, Ishmael Chaudhry, Arthur Loontjens, Fenia Proost.

Lars Marcoen, Samuel Hoorneart, Simon Breynaer

Anton Roets, Derege Wassenberg, Cosima Rosie Lagae, Ishmael Chaudhry, Houcine Boussabat, Tom Lismont, Arthur Loontjens, Kirsten Vanlangenaeker, Fenia Proost, Katoo Geurts, Hanne Deswert, Wout De Clercq, Milan Jacobs, Loïc Tindemans, Ethan Canneart, Tibbe Liesmons

Arena Sweet Arena

Exhibition Documentation of An Uaimh Bhinn by Temporary Pleasure & Lugh O'Neill

A Body of Architecture

, I developed the visual narrative and documented the workshop through an experimental blend of digital documentation and the translation of the experience of a the workshops process. Across five days, participants explored how light can be hacked, transformed and elevated from low-cost sources into scenographic installations.

My focus lay in capturing the making process as spatial storytelling. By using 3D scans and photography to translate material experimentation into a layered archive. 

Developed in collaboration with Stan Vrebos & S4H
Images & 3D visual documentation by Simon Breynaert

Visual Documentation

Scenography 4 Hackers

For XRDS Festival, I translated their scenographic vision into a digital language and promotion.

The visuals evoke a sense of space, energy, and immersion. Just like the festival, they reveal a new world for the audience to enter. Our collaboration aimed at creating an artistic interpretation as well as a visual narrative to promote the festival. Through the use of 3D imagery, digital textures, and color, the work opens a window onto the XRDS world shaped by light, rhythm, and structure.

Mapping Scenography in 3D

XRDS Festival

Containers, Brussels

Architectural Performance (AP1)

As a cross-disciplinary visual artist, I move between architecture, scenography, photography, video and graphic design, always drawn to how space, light, movement and landscape shape our perception, both physically and through the act of documentation.


For Choreomania, I joined Temporary Pleasure to capture the energy of the night from the inside out. Using a mix of video, photography, 3D scans and live documentation, I shifted focus from built space to moving bodies, experimenting with new ways to translate club scenography into visual narrative.


The result: four short video works that drift between performance, space and hyperreality. Shot before and during the event, they move from structured rehearsal to full-on dancefloor chaos, letting the rhythm of the night guide the edit.

I invited my best friend Eli Moonens over to assist me in documenting the visual and sonic material on site.

Designer/Creative Director: John Leo Gillen

Architect/Lighting Design & Build: Stan Vrebos

Video, DOP, Camera, Edit, 3D scans: Simon Breynaert

Additional Video: Lukas Turcksin & Julien Janssens

Curated by: Margot Bossy & Louise Goegebeur