Statement

My practice is nomadic across formats, exploring the poetry of the transmedial. Guided by themes of consciousness, media archaeology, and fabulation, I work with improvisation, algorithmic processes, and human–machine interaction—not to optimize, but to explore our relationship to our surroundings.

I work with found materials and create time-based compositions from analog and digital media, utilizing video, photographs, drawings, and sound works in spatial stagings. Sound and music constitute fundamental pillars of my practice, where sonic elements function as primary compositional forces that generate narrative and emotional landscapes.

Collaboration forms the core of my methodology. I frequently work with dancers, musicians, and interdisciplinary artists, creating shared spaces where each discipline maintains its autonomy while contributing to a larger compositional whole. I understand improvisation as both strength and mindset—expressing a deep devotion to the experimental and a love for the moment.

Biography

Emerging from a background in conventional photography and ethnographic approaches, my deep engagement with electroacoustic composition was significantly shaped by studies as a guest student with Robin Minard at the Bauhaus University Weimar, where I explored the spatial and temporal dimensions of sound as artistic material.

References

Influenced by Glissant, Flusser, Deleuze, and cybernetic thinkers such as Weizenbaum and von Foerster, my work situates itself at the intersections of experimental cinema, media art, and sound practices. Through collaborative and interdisciplinary encounters, I aim to create moments of displacement—encounters with something unfamiliar yet free—that invite cognitive openness, connectivity, and collective reflection.