Portfolio Category: Multimedia

Reliquaries for the Fungible is an investigation of the methodological similarities between art and science, materialized through a series of de-objectified objects in a speculative experiment about care and technological abandonment.

The blue room_A mechanical copy
2022The Blue Room At the invitation of Claudia Retegan from 2/3 galeria in Bucharest, I spent a week in an artistic residency-type setup in the gallery space, carrying out a project inspired by Walter Benjamin’s seminal text, The Work of Art in the Age of its Technical Reproducibility. The public was invited to freely come
The Entropist
2022The Entropist Algorithmic processes that make the structure of our digital reality are recurrently masked under soothing interfaces, mimicking human form. What we identify as the internet can dissolve into uncanny constructs when questioning the control people have over what lurks underneath congenial interactions. This project starts from my search for a technological bridge between
Gentle agents
2022Gentle agents At the invitation of IOMO Gallery in Bucharest, I collaborated with curator & visual artist Andrei Tudose, in bringing about a new body of work meant to bring together my research and experiments in optical contraptions and holography. I wanted to connect this to my other interests - scanography, hybrid film, contemporary dance
2021Affective Particles Superposition is the basis of quantum physics: the observable existence of any particle is the response to one or more external stimuli. The very state in which a particle exists depends on how it is observed. Starting from the research carried out together with Dr. Marian Zamfirescu (Head of the Center for Advanced
Faulty Technology
2020-ongoingFaulty technology Faulty technology is a multimedia project that questions the potential of visual mutation based on technological glitches and accidents. It renegotiates the connections between dissociated fields: analogue vs. digital, still vs. moving image, body in presence vs. absence. It builds on decomposing the moving image medium that records fluid body movement back into
Speculative Mechanisms
2019Speculative Mechanisms The process of seeing is lively and organic, dynamic and easily shifting from one stage to another. But constructing an image or an object with the purpose of it being seen (or perceived) revolves around a different core altogether. The viewer observes an object/image that had been thought of by someone else before
Exposing Movement
2017Exposing Movement Emerged from the desire  to explore new approaches in/to photography (which, oddly enough, attracted forms of expression and technical means from the 19th and 20th centuries), Exposing Movement gathered 4 photographers and 3 choreographers, for a two month artistic lab and research session, on the relationship between the body and the camera, image