The project was nominated for the Melkweg Award, which recognizes exceptional talent, unique vision, and originality in a graduation project.
After the Graduation Show at Dutch Design Week 2025, Glass Memory was exhibited at the Short Movie Sunday Festival at Volkshotel in Amsterdam.
It was also featured in the Great Dutch Art Calendar 2026 and the magazine De Wereld van het Poppenspel.
After the Graduation Show at Dutch Design Week 2025, Glass Memory was exhibited at the Short Movie Sunday Festival at Volkshotel in Amsterdam.
It was also featured in the Great Dutch Art Calendar 2026 and the magazine De Wereld van het Poppenspel.
Page 09/10 "Great Dutch Art Calendar 2026" featuring Glass Memory
Exhibition at Volkshotel Amsterdam for Short Movie Sunday Festival
As a young graduate, I looked at the field of design and saw two sides: the “join AI or stay behind” mentality and the anti-AI movement. Glass Memory was the way I found to create my own direction, addressing the tech tool of our era in the most analog way possible.
I developed the entire project independently, from screenwriting and storyboarding to puppet making, set building, and filming. I learned each of these skills from scratch throughout the process.
The installation was designed to feel vintage, nostalgic, and playful, reinforcing this contrast between an emerging technology and an old-fashioned way of storytelling. The theatre format was equally deliberate. By constructing a physical stage around the screen, I wanted to recreate the magic of traditional puppet theatre: the curtains, the wonder, and the suspension of disbelief. My intention was for the audience to momentarily forget that there was a screen behind the stage.
Through these strategic choices, I was able to reach two of the generations most vulnerable in relation to AI: the elderly and teenagers. The combination of familiar, tactile elements with a contemporary technological subject created an unexpected entry point for people who might not normally stop to engage with an AI-related project.
I developed the entire project independently, from screenwriting and storyboarding to puppet making, set building, and filming. I learned each of these skills from scratch throughout the process.
The installation was designed to feel vintage, nostalgic, and playful, reinforcing this contrast between an emerging technology and an old-fashioned way of storytelling. The theatre format was equally deliberate. By constructing a physical stage around the screen, I wanted to recreate the magic of traditional puppet theatre: the curtains, the wonder, and the suspension of disbelief. My intention was for the audience to momentarily forget that there was a screen behind the stage.
Through these strategic choices, I was able to reach two of the generations most vulnerable in relation to AI: the elderly and teenagers. The combination of familiar, tactile elements with a contemporary technological subject created an unexpected entry point for people who might not normally stop to engage with an AI-related project.
