Often presented as publications, readings, or multi-media installations, her projects explore ecology and finance, bodily and earthly extraction, and reproduction and property. Her practice is essayistic weaving theoretical research, archival material, imagery, and fictions, with a strong editorial focus. Visual languages are composed, writings are assembled, narrations are voiced, preservation methods are practiced.
With Eline Benjaminsen, she develops cli-fi-fi (climate finance fiction) as a speculative genre, emerging from their collaborative publication Collapsed Mythologies: A Geofinancial Atlas (Spector Books & Page Not Found, 2025).
She holds an MA in art praxis and critical theory from the Dutch Art Institute and a BA in graphic design at KABK. She was artist-in-residence at the Jan van Eyck, tutors editorialising research at the MA Critical Inquiry Lab, has hosted guest seminars at HfG Karlsruhe and HfG Offenbach, was previously guest tutor at KASK Gent, and serves on the advisory committee of Stimuleringsfonds for Design and Talent Development.
info(at)daynacasey.com
+31 (0)6 4164 7070
Based in The Hague, NL
I speak about when to leave gaps in a work and, crucially, when not to; about spectatorial labour and the intertwined acts of searching and researching (Bishop); and about spending intimate durations with living matter — such as fermentation, preservation or propagating hedge species — in order to write from within them. These explorations manifest in mixed-media installations, voicings, and publications that address climate representation, extraction, property, finance, and the (bodily) intimacies within these systems, as well as the contemporary violences obscured by the enchanting vocabulary of financial markets — the latter central to my research publication with Eline Benjaminsen. Throughout, I foreground concerns around intelligibility and maintain a wariness of the aestheticisation of finance, aiming instead to point directly at the climatic and political conditions concealed behind financial language, especially throughout (visual) editorial processes. Essaying can be seen as attempting, (un)settling in motion, and (un)worlding.
Curated by Paul Bailey in the context of his practice-based PhD research on the visual essay; hosted and supported by KASK Gent, at Kunsthal Gent.
Alongside Metahaven and Katja Mater.
Where sci-fi (science fiction) and cli-fi (climate fiction) tend to show imaginative futures, we aim to document financial fictions that—although we call them fictions—actually exist. These fictions are not written by us, and deeply impact life and ecologies on Earth. Cli-fi-fi aims to detect, document and narrate the often quite bizarre and violent “encounters” between market fundamentalism and climate change. While we insist that the climate crisis and finance are not two separate entities: they could never “meet,” as they are by now one and the same. Neither could exist without the other. (Alternative spellings: CliFiFi, Clififi, Cli Fi Fi, or sometimes even just: FiFi.)
We position the genre as a collective lens through which to view a set of real, ongoing phenomena — not just an individual concept or personal invention. It is a way to name and make sense of a pattern happening across artistic forms.
Our, Benjaminsen and Casey’s, collaboration began with the observation that this vernacular language projects a landscape both real and uncanny, occult and weird. If finance suggests to be an “inevitable and natural system”, let’s put this to the test and emphasise its absurdity and fabrication.
We take deep-dives into five of these seductive terms departing from their financial definition, visually essaying their mythologies, etymologies, and their direct relationships to contemporary financial activities fiercely impacting the earth. In turn, we propose our own takes, indicated by the “or,” on how these terms may be otherwise defined based on our intricate unpackings. Our perspectives often point at the earthly matter these terms have been abstracted from, and, most importantly, reveal their violence, exhibiting the inseparable intersections between financial markets and ecological collapse.
Second edition 3000. First edition 1400. Distributed worldwide.
Published by Spector Books and Page Not Found.
Supported by Stimuleringsfonds, CNA Luxemburg, Stroom Den Haag, Jan van Eyck Academie, Norwegian Arts Council.
Activated by the 17th-century Diggers, a movement that uprooted hedges that were increasingly creating private property and dismantling the commons, and driven by tax-evasion data from the International Consortium of Investigative Journalists (ICIJ).
Collaboration with Eline Benjaminsen.
Exhibited at Radius CCA, Oslo Kunstforening, Degrowth Conference, Stroom Den Haag, Attac Norge, TEA Tenerife, Page Not Found (upcoming).
