Edith Dekyndt's work observes, identifies, and transforms the performative phenomenology of ordinary materials, objects, and gestures. Dekyndt established herself as an artist in the mid 1990s. Since then, she has become best known for working with everyday objects. These are typically forced into a transformation that leads to material transcendence, be it by means of chemical and physical reactions, or deceptively simple interactions with the human body. The documentation of such processes is essential to the work, which ranges across all sorts of media: video, photography, sound, installation, and performance. Dekyndt also channels in her art a myriad of influences, from literature, art history, philosophy, to science. The raw materials used in Edith Dekyndt’s work are often as intangible as the light, the wind, magnetic waves, or the cold. The artist conceives of works for many years, which she considers “neither spectacular, nor consumable”. She questions the relationship between the world of facts, science, and experience on one hand, and an eminently subjective approach to the world in what she calls a “universal search of subjectivity”. The immediate perception of objects that she submits to the spectators is questioned by the paradoxical simplicity of the natural phenomena that she records. The artist then develops an implicit critique of scientific objectivity and suggests that art is a field of knowledge on its own.