Human, his struggle for existence and future is what interests me most. Through a mixture of different genres and mediums, I try to study the endless human protest against circumstances and world changes, the attempt to escape into the arms of self-deception, the desire not to part with the past and the fear of going into an incomprehensible future. I look at the crossing of genres and types of art as relationships between people, constantly changing under the influence of the surrounding reality, where every step, every turn, every change can turn into tragedy or triumph.

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I am a transdisciplinary artist working at the intersection of visual and performative arts— photography, video, installation,    sound, opera, performance, poetry, and playwriting. In my practice, I explore the fragility of human experience, the impact of global conflicts on migration processes, ecological anxiety, collective memory, questions of gender equality, and the treatment of the queer community. I am especially interested in how personal history is woven into historical processes. My art is always political.​

 

I began my path as a choral conductor and opera director, which shaped me and deeply influenced my artistic approach. It is important for me to create works where various art forms intertwine and amplify each other. In my audiovisual projects, sound and image form a unified emotional space, where sound becomes a living material that shapes perception, rather than simply illustrating the visual.

 

I often turn to analog technologies—film photography and instant cameras—as a way of engaging with the materiality of the image, its tactile nature, and its unpredictability. For me, it is a method of self-observation and of capturing fleeting emotional states.

 

In video, I work with formats such as video essays, visual diaries, and self-reflective pieces. I tend to convey atmosphere, emotional states, and intuitive flow, moving closer to poetic thinking.​

 

In my graphic work, I use traditional techniques—pencil drawing, watercolor, etching—and sometimes include “toxic” materials as a conscious gesture. This ambivalence between content and technique allows me to explore the tension between ecological protest and the industrial legacy that forms part of my personal history.