Since the first large-scale installation Anadyomene, DMO’s work has been characterized by an analytical and design-oriented approach to the reciprocal relationship between movement and spatial design. A particular focus lies on the mutual translation between the two, which involves a critical examination of perceptual conditions and representations of the body within specific environmental contexts.The body of work to date encompasses both physical and virtual spaces realized in a range of materials, as well as VR installations using head-mounted displays or CAVE systems. It also includes notations in various formats and media—such as 3D models, hand drawings, text, photography, and motion capture—which serve as interactive mediators between performances and scenographic installations. In some cases, the installations themselves assume a recording function for movement and thereby become direct compositional components of the work. The long-term research project Kinaesthetic Interferences, which culminated in a doctoral dissertation in the field of architecture, marked both a synthesizing milestone in this ongoing exploration of spatial art and generated a substantial archive of unrealized design concepts. These are now being developed further through artistic research collaborations, such as the VR augmented performance Virtuality of an Embodied Mind.