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„Body in Flux”
Kinetic Sculpture
Wood, PVC, motor, latex, oil
2024
45x45x90cm
Body in Flux explores the relationship between the human body and societal structures that shape it. The sculpture runs via a motor powered by an external source embedded under the seat of the chair which circulates the liquid in the veins throughout the piece. The chair has been infiltrated by an external system of veins, skin, pumps and motors. The parasitic force not only embraces but embodies the form—not an idealized form, but a necessary conduit for its existence. These elements give rise to a new entity that blurs the boundaries between the innate and the constructed. It mirrors the constant flux of identity—changing, evolving, and adapting in response to external stimuli. As the chair assumes the role of both form and metaphor, it becomes an unsettling companion, challenging the viewer to confront their own self-conscious identity shaped by the cycle of perception, reaction, and change.
Exhibited at the Pop Up Arts Festival, Copenhagen, Denmark, 2024.
„Stasis”
Wall Relief Sculpture
Latex, ceramic, LEDs, acrylic paint
2023
50x45x6cm
Stasis delves into the defensive and resilient nature of the human body and mind. Much like an oyster mineralizes a grain of sand to craft a pearl, the body, too, deploys its own transformative processes as a means of protection. The focal point is the intruding object, cocooned within bubbles of latex and light to emphasize its incongruity against the cushioning of its surroundings. Pressing towards the intrusion is another object emanating with light from LED’s embedded under its latex form, highlighting the intricate push and pull of energies—a visceral internal struggle within the body.
Exhibited at the Pop Up Arts Festival, Copenhagen, Denmark, 2024.
„Effigy 1”
Sculpture
Beeswax, slate, iron, scent compounds
2023
20x14x6cm
Effigy 1 weaves a narrative drawing upon ancient ritual, the nature of belief, and the power of intention. The effigy in this piece was cast from a mold of an original 3D-printed form, into which scented beeswax was poured. The wax was imbued with a scent mixture of hot metal, ozone, and musk to immerse the viewer. The result, an unfamiliar form, is nailed to the incised slate. It is noticeably organic, an ambiguity which can be viewed as its own entity, or, an empty vessel onto which viewers can cast their own subjects. Historical resonance with effigies prompts reflection on intent—did the creator seek to harm or heal its subject, or, does the viewer?
„Grafting”
Sculpture
Latex, steel wire
2023
40x35x30cm
Grafting delves into the dynamics of protection and enhancement. A self-administered protective layer in the form of corsetry, drawing parallels to Victorian corsets that constrained and elevated both the physical form and social standing. This work prompts contemplation on body armor and protection of the self. The latex skin, bound to the wire scaffolding, signals assimilation of protective elements into our being.
„Adornations”
Video
Digital video, color, sound
2023
01:18 Min.
This body sculpture and video performance is a study in semiotics. We, in our quest for self-expression, adorn ourselves in intricate ways, offering a reflection of our inner realms through intentional outward manifestations—an intimate dance of reflection and action. Delving into the semiotics of embellishment, employing piercing techniques using hundreds of handmade rings that evoke parallels to chainmail. The intersection of adornment and protection prompts contemplation on the act of ornamenting the body, where personal expression and self-preservation are often indiscernible. The video is scored with original music.
[work in progress]
„GMO Tomato”
Digital Maquette
2025
In 2007, scientists engineered a tomato to produce geraniol during the fruit's ripening stage, a rose-like compound found in flowers and often used in perfumery. An untrained panel then tasted the transgenic fruit and preferred them over controls. This work examines humanity’s interventions into nature and the modifications we explore and endure.
As we reshape the planet to meet the demands of overpopulation, climate instability, and resource scarcity, even our sensory realities are changing. What does it mean to replace ancestral scents with synthetic ones? What kind of Earth are we building when its biology becomes authored?
For this work I crafted a scent profile of the transgenic fruit using traditional perfumery techniques and aroma compounds. This scent reimagines the tomato not as it was, but as it is becoming, a new species constructed through biotech. The final work will be presented as a 3D-printed diffuser (the blender rendering is shown here) containing the scent compounds for the viewer to smell: a vine tomato accord with geraniol to mimic the profile of the GMO tomato. The result is a speculative olfactory artifact of our increasingly transgenic future.
Aroma compounds used:
Geraniol, Hexyl cinnamal, Linalyl acetate, Dimethyl cyclohexenecarboxaldehyde, Limonene, Linalool, Trimethylphenyl dioxane, 4-tert-Butylcyclohexyl acetate, Isobutyl benzyl propanal, Citral, Citronellal, Citronellol, Eucalyptol, Hexyl salicylate, Hydrogenated methyl abietate, Peonile, α-Pinene, α-Terpinene, Terpinyl acetate, Camphene, Lauric aldehyde, Geranyl acetate, Myrcene, Terpinolene.
[work in progress]
„Nepenthe”
Digital Maquette
2025
Read the full research PDF → [
HERE]
Nepenthe—a genus of carnivorous plants whose passive yet inescapable traps I parallel to social media’s algorithmic pull.
A translucent sculptural pitcher plant houses a screen looping YouTube Shorts curated solely by U.S. location-based recommendations, highlighting how engagement-driven algorithms shape ideology and identity.
Engagement-optimized feedback loops amplify divisive content without intent, commodifying attention and emotional response. Nepenthe doesn’t advocate censorship but reveals the biases embedded in supposedly neutral systems. By immersing viewers in algorithmically generated content, the piece exposes how media consumption both defines and consumes us. Through participation, viewers complete the work—engaging with a system that reflects and critiques digital consumption. Nepenthe invites us to confront the unseen forces shaping our digital reality, implicating both algorithm and user in perpetual engagement.
Data Collection: A YouTube Shorts account will be created using a VPN and private browser, isolating geographic-based recommendations. Screen recordings will analyze content trends and ideological bias.
Physical Installation: A transparent sculptural pitcher plant, vacuum-molded from polycarbonate or recycled plastics, large enough for a viewer to peer inside.
Embedded Technology: A looping screen with speakers; internal mechanics (Raspberry Pi, wiring) submerged in mineral oil, mimicking digestive fluids and reinforcing passive entrapment.
[work in progress]
„A heaven not so large as yours, But large enough for me.”
Digital Maquette
2025
“A heaven not so large as yours, but large enough for me.” -Emily Dickinson
This phrase resonates with my exploration of finding one’s place in a shrinking world. I intend to explore this idea, questioning what “heaven” remains for us in the context of ecological degradation and institutional exploitation.
I grew up on federally protected wetlands teeming with vegetation and wildlife, forming an intimate connection with nature. As a child, I believed in reincarnation and imagined my next form as a tall oak tree rooted deep in the forest. I found comfort in nature’s cyclical decay—life as a circle, where endings become beginnings. But as the world decays, I ask: What happens when there is no natural form left for our energy to return to? Does the last breath of life remain trapped?
This project engages with phenology, the study of change, timing, and cycles in nature, through direct interaction with the environment. I have been collecting field recordings from forest and rural spaces, tracing the subtle shifts between ourselves and nature. These sounds will form the basis for this interactive new media installation, featuring a representation of a tree trunk embedded with infrared sensors that detect viewers’ proximity. The sensors, connected to a Raspberry Pi, will trigger audio clips based on the viewer’s distance, creating an immersive soundscape reminiscent of a digital theremin. The field recordings (bird calls, wind, insect rhythms, distant human activity) transform the sculpture into a living archive of ecological time.
This work is informed by ecological and corporeal theories, evoking ideas of reincarnation and biopolitics. As Foucault suggests, modern power disciplines bodies to maximize their utility while integrating them into systems of control.
Decentralizing the Social Web: The Growing Pains and Promise of the Fediverse
Is the Fediverse a Future for Social Media? This reflective essay explores the potential of the Fediverse as an alternative to mainstream social media platforms, focusing on its governance challenges, issues of scalability, and the tension between decentralization and usability. The essay questions whether the Fediverse can become a viable and sustainable option for the general public.
Read the full essay → [HERE]
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