The musical video work Homebody examines the relationship between consciousness, the human body and the home. Filmed in Villa Skeppet—the smallest private home designed by Alvar Aalto—the “home-bodies” are four performers who move between individual presence and a shared collective entity. Their daily desires, frustrations, and intimacies unfold through surreal yet tender musical acts. Utilizing ASOCS (Authentic Stream-of-Consciousness Singing) a somatic method developed by the artist, the work gives voice to the body’s wisdom and helps uncover buried truths about the self that are equally moving and irrational. The work simultaneously unsettles the posture and serenity of its backdrop—Aalto’s modernist architectural icon—by revealing the irrationality of the human thought residing within it.

The installation features a miniature René Descartes (1596–1650), best known as a proponent of Cartesian dualism. Reduced to a miniature scale, he wanders the interior confronted by forms of knowledge that exceed the limits of his framework that helped shape modernist ideas of order, control, and rationality. His perspective magnifies dust, cracks, and overlooked details of the house, unsettling its architectural perfection. Floating above the screens, a larger-than-life microbial tardigrade—an ancient extant organism—signals a vast, non-human intelligence that exceeds and outlasts human reason.

Homebody is a synchronized, 50-minute three-channel video loop, with each screen showing different rooms and views of the home in apparent real time. Performers move between the three screens, creating the impression of crossing the house—and multiple realities—simultaneously. The installation offers a magnified view of domestic life where little happens until creativity organically emerges, erupting into song; visitors, both wanted and uninvited, transform the household; and minor gestures ripple through the entire system.

Installed within a soft, pink, bodily environment with squishy, bulbous seating that invites movement and physical engagement, the work positions the viewer as a participant rather than a distant observer. The home, like the body, emerges as a living organism—leaky, inhabited, absurd, and full of organic intelligence in excess of reason. The video work is a part of the Finnish National Gallery’s collections.