(2026)
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Within ocean systems, radioactive isotopes trace thermohaline circulation, a global system of seawater movement driven by temperature, salinity, and density differences. As water cools and becomes saltier it increases in density, sinks into the deep ocean, and returns to the surface over timescales of up to 1,500 years, carrying isotopic traces across the globe.
A short film situates these processes within the standardisation of time, framing them as technopolitical infrastructures converting military violence into planetary measurement. The Decay of Time reframes time as a hybrid material process emerging from radioactive matter, ocean circulation, and embodied perception, showing time as politically constructed through nuclear history, scientific standardisation, and the translation of destruction into global knowledge, where measurement becomes both record and residue of planetary systems shaped by Cold War infrastructures and their continuing environmental afterlives across deep time and planetary scale.
Sound design by Liza Kuzyakova, voice by Angelina Nonaj, scientific advisory by Dennis Vermeulen (Environmental Fluid Mechanics, TU Delft).
Solo exhibition, Gallery Rigo, Novigrad, Croatia — 04.09.2026.
(2025)
Particular attention is given to form and color, rendered in reduced dimensions so that monumental and otherwise difficult-to-grasp processes become sensorially accessible. Printed as digital photographs on semi-gloss paper and presented in a handmade frame, the images invite close observation rather than visual dominance. The viewer encounters the materiality of the stone through proximity, where what appears immobile and permanent is revealed as stratified, fragile, and subject to continuous transformation.
2025; silkscreen using ground limestone, glass frame.
Conceived around the idea of balance, the structure depends on gravity and weight, referencing the forces required to detach stone from its geological context. At the same time, its apparent instability foregrounds the fragility of human-made systems when confronted with the immense temporal and material scale of geological processes. The limestone fragments, formed through prolonged sedimentation, contrast sharply with the iron structure, which alludes to rapid, utilitarian intervention.
Rather than asserting control over the material, the swing stages a condition of dependence and tension. Human time — marked by extraction, use, and abandonment — is set against geological time, which persists through accumulation and endurance. The work materializes this imbalance as a physical and experiential condition.
2025; iron, limestone sourced at the site near the residency.
Kuberton Residency, Galerie Krinzinger & Museum Lapidarium. Exhibited at Galerie Krinzinger Schottenfeld, Vienna, and Lapidarium Museum, Novigrad. Part of the Galerie Krinzinger collection.
(2025)
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Moving through themes of transformation, decay, and renewal, the film uses metabolism as a framework to question dominant separations between nature and culture, organic and synthetic, self and other. Through filtration systems, architectural divisions, and biological processes, it reveals how even waste bears the imprint of societal values.
In this space of cultivated growth and controlled decay, the film questions the systems we build to sustain life — and what they exclude in doing so. It asks what it means to exist within networks that seek purity, when life itself depends on entanglement, excess, and regeneration.
Developed during my residency at V2_ Lab for the Unstable Media, Rotterdam.
Second Award, Ivan Kožarić Award 2025 — part of the permanent collection of the Museum of Contemporary Art Zagreb.
Sensory Diet is a versatile tool designed to facilitate sensory exploration and integration within urban spaces. Inspired by the plasticity of modernist architecture, the box transforms solid architectural structures into pathways of sensory discovery.
(2024–2025)
Central to the project is a self-constructed tool for producing capsules from bacterial cellulose, a nanostructured biopolymer synthesized by Komagataeibacter species during fermentation. Characterized by its high mechanical strength, porosity, and biocompatibility, bacterial cellulose is here reconceptualized as more than a biomedical material — as an active membrane capable of hosting and mediating microbial life.
Rather than focusing on the capsule’s content, the project treats the barrier itself as the site of inquiry. Drawing on the material’s probiotic potential and its capacity for microbial exchange, the cellulose functions as a speculative prosthesis for ecological repair, facilitating interactions between human and non-human microbiomes.
The project responds to the cascading effects of microbial impoverishment driven by industrial agriculture, overuse of antibiotics, and environmental sanitization — conditions that simultaneously degrade soil health, plant resilience, and human microbial diversity. These interlinked phenomena are reframed as systemic rather than isolated pathologies.
In parallel, Capsule of Encounter incorporates a lecture performance as a methodological and critical tool. Recognizing that biomedical language not only describes but actively produces bodies and norms, the performance explores how text can become material — a medium for re-narrating immunity, health, and contamination.
Winter Sessions Residency, V2_ Lab for the Unstable Media, Rotterdam. Presented at V2 Open Sessions (lecture performance), 21.02.2024, and Open Lab Special: Wintersessions 2025, 11.07.2025.
installation, workshop series, design
(2023, ongoing.)
(2023, ongoing.)
KABK Graduation Show 2023.
I used to hide in a shell of facts and feelings, unable to process them, and my body became tiny but it carried a lot of weight. I lost the ability to connect and just lived in my own reality, but then I started feeling my body again, a little bit. This project emerged from the necessity to heal my perception of my own body.
Sensory room, a tool used in the treatment of neurorisk-impaired people, people with cognitive disabilities, and mental illnesses opens as a place for exploration of the limits of individual bodies. Care is allowed to become subjective, individual, collective, and un-hierarchical as body experiences differ from person to person. The sensory room is snapshot of viewer’s bodily experience in time and space constantly changing as it encounters the others.
The room is a tool for accessing the body, it functions in the urban,the city, institutional, or individual spaces. By creating a room-project based on elements of sensory integration, the design of sensory elements derived from natural forms is facilitating the adaptation of institutions to the outside world. The elements are mobile and together they can form a sensory room or be used individually.
Each element is designed and hand made, with help from various workshops and people, to who I am deeply thankful for.
The space should not be an obstacle to providing assistance to those in need, to anyone.
Sensory room extends in a form of a public sensory workshop, where use different techniques to enable focusing on senses and disrupts the regularity in which we inhabit the city. Engaging in play in collective and urban spaces, establishes an institution where re-claiming individual bodies trough re-discovering our body memory is possible.
The city becomes a space whose potentiality shifts as knowledge of our own body deepens.
Sensory room, a tool used in the treatment of neurorisk-impaired people, people with cognitive disabilities, and mental illnesses opens as a place for exploration of the limits of individual bodies. Care is allowed to become subjective, individual, collective, and un-hierarchical as body experiences differ from person to person. The sensory room is snapshot of viewer’s bodily experience in time and space constantly changing as it encounters the others.
The room is a tool for accessing the body, it functions in the urban,the city, institutional, or individual spaces. By creating a room-project based on elements of sensory integration, the design of sensory elements derived from natural forms is facilitating the adaptation of institutions to the outside world. The elements are mobile and together they can form a sensory room or be used individually.
Each element is designed and hand made, with help from various workshops and people, to who I am deeply thankful for.
Sensory room extends in a form of a public sensory workshop, where use different techniques to enable focusing on senses and disrupts the regularity in which we inhabit the city. Engaging in play in collective and urban spaces, establishes an institution where re-claiming individual bodies trough re-discovering our body memory is possible.
The city becomes a space whose potentiality shifts as knowledge of our own body deepens.
- in collaboration with Cecilie Fang Jensen
- (2023.-ongoing)
- https://rippingfootnotes.cargo.site/
The workshop(s) become a space for mutual learning and decentralizing how institutional education is centred around hierarchy; a learning from top-down shaped for able-bodied bodies.
A space where re-claiming individual bodies is possible, but only in the creation of a collective body. A space for artistic research in its presence and after-digestion through dialogue.
The focus on re-sensing urban space becomes a method of deinstitutionalising care and learning in form of public drawing and sound workshops.
The act of slowing down in urban landscapes is considered as regressive, dysfunctional, yet it is the act of listening to one‘s own body and understand its relation to an environment. Play contradicts the intention of functionality as it is often considered an intuitive action without purpose.
A-topical spaces are described as places that do not have a reconsidered purpose or function and so, play becomes a purposeful space for resistance to re-think learning as a fluid process without one fixed origin or end.
05.08 at Beautiful Distress, Amsterdam, Netherlands
01.05-02.05 at De Vrolijkheid, Almere, Netherlands
17.03 at Atelier de Kunstvlieg, The Hague, Netherlands
17.02-18.02 at the Grey Space in The Middle, The Hague, Netherlands
Installation, video, database, nanotechnology, research paper, 3d print
(2023, ongoing.)
(2023, ongoing.)
Project deals with concept of {auto) immunity in the present state of democracies. Observing immunity as a legal concept first conjured in ancient Rome, where it functioned almost exclusively as a political and juridical term. “ Self-defense” is defined as the first “natural right.”Autoimmune diseases are observed as conditions in which the organism fails to recognise parts of itself as its consecutive parts, and therefore starts attacking its own cells.
This behaviour of cells can be reflected in current state of politics as law protects itself through practicing violence in order to keep a level of homeostasis, to prevent violence.
Autoimmunity is a paradox that can teach us how engaging in self-defence mechanisms is an act of preventing co-existance of different bodies in the shared space and time.
The work focuses on observing natural habitat of fish in the Adriatic Sea, and conducting a case study that examines levels of heavy metals in fish tissues. The Adriatic is a personal choice as my family has relied on fishing as income. Heavy metals can induce autoimmunity in people and alter immune responses in fish.
The levels of heavy metals speak of migration as their presence in tissues is correspondent to their presence in seawater. I wonder, how does culture of food, of consumption of fish speak of our possibilities to develop different relationships to the environments our nurture comes from.
What can a teeth tell about our consumption habits, and how can a teeth function as a memory of a human? How can my research protect the sea that brought me food to plate? It is a quest of artistic/biological action and field study where a teeth functions as a data drive of information, and is powered by the energy of the sea.
Installation consisting of self made bioreactor where Microalgae biomass serves as the energy source of the processor. Processor contains research data on fish migration and toxicity as well as offers possibility for storing personal medical data in a protected manner.
Audio-visual essay;
2023.
29.09.2023 Mostra: GRISIAyouth 2023 Competition Winner, Rovinj, Croatia
installation,wet plate emporium,
plexiglass engraving growing booth, (2023.)
Exhibited at The Grey Space In The Middle, The Hague, Jan 2022.
UNFOLDING TERRITORIES: Co-creating Through Cartographies of Care
organised by the Cockroach Collective.
organised by the Cockroach Collective.
We have created a world so sterile, so senseless.
We have lost our connection to the larger ecological environment. In October of 2021 I planted a specific type of garlic crop, Istrian Red Garlic, in the Netherlands. The Association of Producers of Istrian Garlic was officially founded with the aim of granting EU protection status for this specific crop. This is where my interest arose.
I planted the significant clove in a way that disregards its specialty, and it grew, better thanI could have ever imagined.
I am fascinated by light. It escapes every intention to be controlled. It is always following its path and we are fooled when we think the opposite.
For a long time we have subjugated those around us, organisms, phenomena, laws. This is where the story begins, a story that is taking place in a box. This is the place that tracks time, every day and every night, it tracks the concept of time as well as simple process of growth. .
We have lost our connection to the larger ecological environment. In October of 2021 I planted a specific type of garlic crop, Istrian Red Garlic, in the Netherlands. The Association of Producers of Istrian Garlic was officially founded with the aim of granting EU protection status for this specific crop. This is where my interest arose.
I planted the significant clove in a way that disregards its specialty, and it grew, better thanI could have ever imagined.
I am fascinated by light. It escapes every intention to be controlled. It is always following its path and we are fooled when we think the opposite.
For a long time we have subjugated those around us, organisms, phenomena, laws. This is where the story begins, a story that is taking place in a box. This is the place that tracks time, every day and every night, it tracks the concept of time as well as simple process of growth. .
This is the story that opens questions about control, how we are controlling the environment trough artificial shortcuts, but still relying on natural laws. We are working for it and against it. This is an intervention in the organic space, it disrupts the natural order but on the other hand it provides life, it can stimulate change.
The project is brings together installation, photography and spatial experience. Growbox, the home of blossoming garlic acts as a tool for production of images as light sensitive chemicals are fixed on the changeable glass plates in order to track light transitions. The process of applying gelatine on glass becomes a pillar for understanding human persistence in materialising light rays, and observing how filtering certain light frequencies affects both chemicals, their shade of blue, and growth of garlic. This work offers a dialogue between the audience and the light, it allows the audience to understand their position in the work and how without them, this process would be left in the dark.
Also exhibited at: SúnPoíēsis: from Ego- to Eco-Centrism through Art
Installation, live set,soundscape, essay;
(2021.), In collaboration with Andrejs Poikaans.
The inability to understand language trough which one is being accused of empowers the inability to claim one’s own rights and opens questions about the right to stay silent. In collaboration with Andrejs Poinkaans, I undertake the task of dealing with perception of human speech and examining proprieties of its manipulation due to its audible base.
Complete silence can never be achieved as internalised noise from engraved social patterns is formulating our thoughts and feelings. Therefore, I aim to create silence by using sound.
Relying on interference of sound waves to produce silent spots conditioned the organisation of sound carrying objects in the space. In that sense, the deconstruction of power structure and punishment, created trough objects and spatial design, stands in contradiction with the content of sound itself.
Placing the speakers in the metal object embodying the shape of corn can serve as a reference to my personal heritage. As a child, the stories we listened to often spoke about kneeling on the corn if you acted in a wrong way, if you spoke when you weren’t supposed to, punishment indeed. In this sense, sound of voice coming from these objects once is punished, but the person who is punishing is on the same level as the speakers, power is contained in each individual.
The installation is a provider of the space for self reflection and acknowledgment, for further interventions.
Exhibited at Echo, group exhibition.Brønshøj Water Tower, Copenhagen
video/spatial installation/ 3d rendering/
photogrammetry (2020./2021.);
In collaboration with Tang Ha (graphic design).
Garments provided by Anouk van Kampen Wieling.
Loop video on the subject of community.
What will community be like in the future?
Will it survive the ever growing individualism in the midst of the pandemic and ecological changes?
Will we lose the ability to communicate, to interact and to listen to each other’s words?
Maybe words will stop having meanings. What will remain will be just noises humming into the ears confined by the lonely ambient space.
Landscape inspired by white circles drawn on grass in one of the parks in Rotterdam during the covid-19 pandemic. They are meant to measure safety distance between people sharing the same open public space.
What will community be like in the future?
Will it survive the ever growing individualism in the midst of the pandemic and ecological changes?
Will we lose the ability to communicate, to interact and to listen to each other’s words?
Maybe words will stop having meanings. What will remain will be just noises humming into the ears confined by the lonely ambient space.
Landscape inspired by white circles drawn on grass in one of the parks in Rotterdam during the covid-19 pandemic. They are meant to measure safety distance between people sharing the same open public space.
- public space intervention; (2021.);
- In collaboration with Angelina Nonaj
In the current context of the city of the Hague, the urban planning of the public space does not seem to encourage intersection of different cultures and realities.
Therefore, spontaneous encounters are losing their priority in people’s life.
Art is a way to activate critical discourse, help to raise questions, tell stories, show blind spots, invite people to get involved.The possibility of experiencing togetherness, connection and collective empathy is achieved by creating a piece carrying transcultural meaning. In order to represent this idea of safe space and reciprocal trust, we are going to produce an object of everyday use, the carpet, which symbolizes familiarity, comfort and warmth.
The medium of Photography is going to be constantly affected and questioned by this project as it will serve as ground of construction and “matter” for deconstruction of its meaning.
The purpose of this Collaboration is rooted in both our motivation and final goal: to create a possibility of exchange and growth through facing different perspectives on the same matter of concern.