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For designing the Bionic Chair, I started to do motion studies for finding out what angles the skeleton is able to make and how the skin deforms for preventing getting blisters. From 2020 I started to collaborate with Bart Hess with visualizing the moving body. These projects can be found on the website Below you will find previous studies.


Self-conducted study with liquid clay. The more cracks, the bigger skin deformation. On the drawing you can see skin deforms asymmetric. The right shoulder blade has more deformation, most likely due to me being right handed. The center of the spin is having more deformation than the lower back, making that a more interesting place to support the exo skeleton to the body without getting blisters.

skin movements back.jpg

A music film created for the track 'Fluqs', where research on motion and skin for the Bionic Chair is visualized.

Film by: Zygintas Papartis and Govert Flint
Music by: FLUQS
Performers: Leslie Nagel and Govert Flint
Third eye: Agata Vodnicka
Special thanks: Aaf, Henk and Kaate
Concept: Institute for Applied Motions
Production: Ziggy Pictures
Supported by: Enrichers


A study on angles the limbs make


This experiment is based on a dialogue between the creature and the creation. Dancer starts by falling down. Based on that first movement, the 'creators' make supports: visualizing the ongoing development between user and product. From that creation on, Dancer continues with 'falling' followed with the creation of additional support. Together they become a choreography.

On display at “Het Nieuwe Instituut” Museumpark 25, Rotterdam. 31st of January – 26 of April 2015


Film by Zygintas Papartis and Govert Flint

Concept by Govert Flint & Rodrigo Alves Azevedo

Choreography by Rodrigo Alves Azevedo

Sound by Dominykas Daunys

Film production by Ziggy Pictures

Dancer Gieorgij Grzesiek Puchalski

Design Methodology by Govert Flint


Installation by

Jeroen van der Drift
Govert Flint
Zeno Franchini
Kim Haagen
Lysander Klinkenberg
Inge van der Ploeg
Martje Roks
Maurik Stomps

Facilitated by
Het Nieuwe Instituut

Special thanks to
Studio Makkink & Bey

Thanks to
Jules van den Langenberg
Collaboration – O
Sander Wassink
Luuk van den Broek
Bart de Hartog
Sarah Züst


This Motion Study is about how sweat appears on the body. At the exhibition 'The Object Is Absent' (Oct. 2019) at MU Art Space (Eindhoven, NL), I covered my body in ash for being able to visualise where sweat appears on the moving body. At places where the body starts to sweat, the ash becomes black, displaying the pattern the sweat appears on the body.


It surprised me it was not the armpits, but the head, forehead and area around the nose and mouth which produced a lot of sweat. There seams to be a relation between facial hair growth and places where we sweat. Also the spine produced a lot of sweat, perhaps more than 50% of the entire body production. The armpits are known for their sweat production, but seamed to produce relatively little when performing sports. Perhaps the armpits have a higher relation with sweat production when experiencing stress or emotions like anxiety, fear or excitement.

When we design chairs in cars, we should create a special solution for the middle back rest for dealing with the high sweat production there. Also for sports wear, the area of the spine should be designed to deal well with sweat production.

For make-up, it is interesting to take into account our eyes, lips and nose are very much spared from sweat, although our forehead, cheeks and area around the mouth cope with a high sweat production.

Curated by:
Angelique Spaninks & Tom Loois

Photographer: Britt Roelse

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