• IDOL_1 (2023)

    Upcycled synthetic materials, LED light, bolts, ratchet strap, 45×250x45cm.

    Idol was commissioned to be displayed during the Motel Mozaique annual festival in 2023. This ambitious piece seeks to illustrate the fluidity of contemporary identity and the culture of Rotterdam by merging traditional iconography and archetypes with advanced digital techniques. The iconographic symbolism featured in this work strives to explore the ambivalences of present-day identity; by emphasising both a reflection of the past and a search for a new form of self-realisation. Its purpose further develops the notion of modern-day liminality, providing a window into a speculative future whilst simultaneously evoking the death of the traditional deity-image.

    EXHIBITION HISTORY

    MOMO FESTIVAL (2023)
    Curation: Nikki Georgiou
    Arminius Church, Rotterdam

    Re-build (2023)
    Curation: Nart Ozel, Samyuktha “Sam” Rajagopal
    Featuring works by: Brody van Muijden, Geertje Brandenburg, Niya Tsenkova, Sakhi, Jochem Mestriner, Joseph Thabang Palframan
    De Hillevliet, Rotterdam

    IN PROGRESS; IN SITU (2023)
    Curation: Borbala Magdolna Pal
    Featuring works by: Tyler Chan, Sina Dyks, Gaetan Langlois-Meurinne, Luvtoshima, Sunhyo Mast, Marysia Swietlicka
    Baanhof, Rotterdam


  • DARK_WOOD (2023 – ONGOING)

    Multimedia series
    Funded by Stimuleringsfonds Creatieve Industrie
    Musical score by Tino Theqvist

    This ongoing body of work encompasses charcoal cartographies on paper in various sizes alongside an interactive video game installation featuring a Raspberry Pi, CRT monitor, headphones, keyboard, cables, desk, chair and display case.
    The charcoal drawings map liminal psychic landscapes through procedural mark-making techniques inspired by Jungian active imagination. By employing pattern-making and cut-up methods, the works explore the tension between rigid artificial structures and organic fluidity, between conscious control and unconscious emergence. Charcoal’s granular materiality guides the process, revealing hidden figures through erasure as grids section through biomorphic patterns.
    Selected drawings transform into environments for the Dark Wood video game, created in RPG Maker, establishing a dialogue between analog and digital expressions. This interactive component extends the work’s exploration of personal cosmology through ritual engagement.
    Rooted in exercises to relinquish neurotic control, these fragmented compositions form both labyrinth and evolving mythology, where systematic approaches gradually give way to material-led discovery. The series documents this alchemical transformation from structured beginnings to emergent, unpredictable conclusions.

    EXHIBITION HISTORY

    Troubled Waters (2025)
    Werkwarenhuis, Den Bosch

  • DIPTYCH_240314 (2024)

    Part of the Blok mural series

    Acrylic on wall, 100x500cm + 100x300cm. Realized on 3rd floor stairwell of Master Institute of Visual Cultures in Den Bosch.

  • ARCHIVIST_1.0 (2023)

    Assemblage, filing cabinet, computer, software, plastic, servo motors, CRT monitor (4:3), dot-matrix printer, 1000 pages continuous 90 grs paper, 135x45x125cm.

    Archivist 1.0 (2023) is an interactive art installation examining the relationship between time, technology, and human presence, through the exploration of the concept of ruins, metaphysics, and our evolving digital culture. It melds the physical and digital, autonomously searching for and capturing visages of everyone that appears in front of it and transforming them into binary data that’s then printed onto a 300 meter long scroll of paper.

    Questions arise such as who has the authority to govern the potential everlasting existence of our digital traces? How are these preserved or extinguished? The procedural aspect of Archivist 1.0 is a manifestation of the broader context of corporate data accumulation, where our data is stored clandestinely and indefinitely without our consent or input.

    Contrastingly, the use of paper in the installation underscores the vulnerability of digital media. It signifies the prospect of a “digital dark age”. Data degradation, platform shutdown, or simply losing access through forgotten passwords could result in parts of our digital existence becoming unavailable, misinterpreted, or erased – much like ruins that lose context over time.

    Derived from the term “post-digital”, the work advocates a shift from the traditional techno-positivist approach to digital technology. It eradicates distinctions between new and old media, reflecting technology’s pervasive role in contemporary life, changing meanings of words like ‘digital’ and ‘memory’, and the looming possibility of a ‘Digital Dark Age’ due to the lack of secure, permanent digital data solutions. The installation’s post-digital stance aims to reconcile both online and offline, material and immaterial, highlighting shared elements of the past, present, and potential futures.

    EXHIBITION HISTORY

    INCUBATOR (2024)
    Curation: Boris Gunst, Feodora Ratsiborinskaya
    Documentation: Sil Munik
    Kunstkerk, Dordtrecht

    IMPAKT Festival (2023)
    Curation: Ezgi Aktug, Merit Zimmermann
    Stadsklooster, Utrecht

  • KOMPRESOR (2022-ONGOING)

    Part of the Blok series (Nigredo phase)

    Emerging from the alchemical Nigredo phase, the Kompresor series investigates digital compression and psychological transformation through airbrush portraits. These works depict faces dissolving into pixelated abstractions, where facial features emerge from and disappear into the gridded structures characteristic of the broader Blok series.
    Executed with meticulous airbrush technique, the portraits embody a paradox of control – the medium allows for hyper-precise gradations that nevertheless depict profound loss of detail. Each work begins with a high-resolution source image that undergoes systematic degradation, mirroring the destructive yet transformative nature of the Nigredo process. The resulting images hover between representation and abstraction, their compressed forms speaking to both digital mediation and psychological reduction.
    As part of the Blok series’ exploration of rigid systems, Kompresor documents this initial phase of breaking down – where human identity confronts the relentless geometry of compression algorithms. The faces become landscapes of data loss, their fading particulars giving way to the emergent patterns of the underlying grid. This systematic undoing serves as necessary precursor to the subsequent alchemical stages of the work.

    EXHIBITION HISTORY

    The Way the Wind Blows / Stormslag (2025)
    Curation: Storm Wilschut
    Kabul à GoGo, Utrecht

    Forever Young (2024)
    Curation: Beroeps Organisatie Kunstenaars
    Boterhal, Hoorn

    INCUBATOR (2024)
    Curation: Boris Gunst, Feodora Ratsiborinskaya
    Documentation: Sil Munik
    Kunstkerk, Dordtrecht

    DUNGEON – Solo Exhibition (2024)
    Curation: Bram Engelaar, Niek van der Veer
    De Nijverheid, Utrecht