With each work, the human body is always approached with an open mind and looked at from a different thematic point of view. Karel always starts from a precise dramaturgical analysis of that thematic body, then searches for performers who already (partly or in the bud) embody this content for him, and then - together with his team - explores that body from intimacy.

Karel repeatedly challenges his makership on a discipline-wide basis, with a view to a well-defined way of deploying the performer's body, the so-called transparent body. The transparent body is a state of pure, sensory receptivity, allowing the performer to pay attention to what is and therefore becomes, without ballast.

By guiding the bodies of his performers to their most receptive nature, he simultaneously questions the disciplines in which he works. Each thematic creation is based on the true physical condition of the performers and is given the presentation framework that translates, communicates and highlights this personal content in the clearest way. In addition to performances, his oeuvre also includes installations, theatre texts, masterclasses, publications and films. Because Karel likes to bring elements from different disciplines together or put them side by side in the works, he talks about different ways of looking through his creations. Each work brings him closer to the essence of the purging intermedial image-maker he is.

Karel calls the working method that he has built up from years of practical experience as a performer, lecturer and maker art as research, in which his infinite artistic process is research at the same time, and is equivalent to the creations. The form that emerges from the research into the thematic body eventually becomes the work of art itself. A personal discovery in that work becomes source material for a new, upcoming work. For example, the dance solo STRANGER, in which one and the same man plays with his and others' ideas about masculinity, follows the experimental film A SITTING MAN, which examines the body that is entangled between nature, culture and digitization.



The history of the arts offers us a rich perspective on how the body is used in various disciplines and media. In contrast to this history, Karel wants to (re)enable the connection from person to person with a new form of physicality, by speaking from body to body as purely as possible.

It is not the work of art that speaks to us, but the body contained within its image. The body is what connects us.The human body connects everything we desire and everything that most frightens us. It is the source of our deepest pleasures. As human beings, our complete experience of the world is determined by how we experience our bodies. Beyond social, cultural and mental constructions, Karel wants to put the sensory experience back at the centre and make it tangible.

He sees his works as a proposal and invites the viewer to look openly, in gentle receptivity. Work that can be interpreted differently by everyone. In which you may come closer to yourself by looking at the other with all your senses, in connection with the world you are part of.