• 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

  • 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


  • DE_FOG (2023)

    Installation incorporating video art (155 seconds), print and virtual reality.

    The collaborative research project “de_fog” explores how cultural artifacts can be manipulated through different media in times of crisis. Using a virtual reality environment, the project examines how digital objects and characters can be distorted to create new meanings and interpretations. This multimedia installation captures the transitory nature of digital media to create a liminal space in time.

    EXHIBITION HISTORY

    (im)material ruins exhibition (2023)
    Video preface/introduction: Federico Campagna
    Guest editor: Stanisław Liguziński
    Curation: Martina Raponi, Belle Phromchanya, Eden Mitsenmacher
    Featuring works by: Hasna El Ouali, Dasha Starostin, Eli Hooper, Federico Ramírez Hönack, Johannes Heißenberg, Keo Borejszo, Kirwin Lonwijk, Ringaile Demšyte, Vanya Tretyakov, Vera Serlier, Victoria McGuire, Yasemin Kevser
    Het Nieuwe Instituut, Rotterdam