„Wikimancy”
Interactive Generative Work
Wikipedia Archive, Code, Chance
2026

For millennia people have turned to existing texts to divine meaning. The ancient practice of sortes used passages selected from Homer as prophetic guidance; Roman poets constructed centos prose from fragments of existing works; medieval bibliomancy drew meaning from randomly selected bible passages; William S. Burroughs physically cut-up and rearranged printed pages; and contemporary paranormal practitioners use spirit boxes to interpret fragments of intercepted radio transmissions. Across these practices, meaning emerges through chance, fragmentation, and interpretation.

This work builds on these histories into an interactive generative system pulling from an offline archive of Wikipedia. It is informed by communities which today are preserving vast collections of online knowledge in preparation for infrastructural collapse, network failure, or a speculative post-internet future. Activated by the viewer, the software selects and filters fragments of text and found imagery from an offline archive of all of Wikipedia, transforming the encyclopedia’s clinical organization of knowledge into a digital oracle. Disjointed text and imagery become irreverent poetry to interpret. As AI becomes indistinguishable from us, any departure from this style of communication with digital systems becomes stark. The esoteric and intuition based practices that ancient peoples relied on for guidance are retrofitted as an interface for an eschatological digital age.

Works and Days

„Works and Days”
Interactive Installation
Speakers, wire, single board computer, field recordings, ultrasonic sensors
2024
200x180x60cm

Field recordings captured across Italy and Greece are diffused through clusters of mini speakers creating three “Swarms.” Various cicada audios positioned around a central speaker that echoes city sounds: the rumble of construction, the murmur of distant voices, the steady thrum of traffic. As visitors move through the space, PIR sensors track movement, and a Raspberry Pi microprocessor running code subtly amplifies the closest “Swarm,” while quieting others. This interplay invites the viewer into a sensation of being both observed and absorbed by the sounds of industry and nature around them. Conceptualized while listening to meditative works by John Cage and Alice Coltrane. This installation draws one into a meditative state, encouraging one to bask in the sonic layers of a living code of calls, hums, and unseen rhythms that make up the fabric of our daily lives.

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.


Exhibited in Volatile Derivatives at Olfactory Art Keller, New York City, USA, 2025.

„GMO Tomato”
Scent Installation
Aroma compounds, plastic vessel
2025

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.

Thresh

„Thresh”
Kinetic Sculpture
Latex, PVC, Oil, Dye, Motor, Wire, Batteries, Plastic, Wood
2025
100x65x10cm

This wall-hanging explores the interplay between the organic and the technological in contemporary life. Circulated oil flows through the veins of latex, animated by a motor, emphasizing the materiality of both human and machine. It reflects the layered composition of modern existence, nature, nurture, and technology, inviting viewers to confront the ways we are constructed from, and dependent upon, our component parts. The work embodies a sense of fragmented embodiment, positioning the body and its mechanical extensions as interconnected, evolving systems.

Claustrum

„Claustrum”
Interactive Installation
PIR sensor, wire, single board computer, felted wool blanket
2025
70x70x180cm

Shrouded beneath a layer of felted wool, an unseen being stirs, its movements manipulating the fabric’s surface in a rhythmic struggle. Powered by a single board computer running code and activated by a PIR sensor, the sculpture reacts to the presence of the observer. Claustrophilia delves into the psychological tension between comfort and confined space. While the being inside may be content, this kinetic installation invites viewers to confront this perspective as an onlooker, provoking an instinct to either intervene or retreat. “Claustrum” prompts reflection on the boundaries between the animate and inanimate, comfort and disquiet, intimacy and alienation.

eliza

„ELIZA”
Interactive Installation
Fiberglass, wire, single board computer, infrared sensors, aluminium, rubber, speakers
2024
140x130x20cm

ELIZA explores the building blocks of human language in a form that invites viewers to grapple with meaning—or its absence. The installation utilizes a Raspberry Pi microcontroller running code, an independent power source, wires, speakers, and infrared sensors that detect viewer proximity, all housed in a molded fiberglass shell. As visitors approach the vessel, the sensors measure the distance of the viewer and trigger audio recordings measured out to specific intervals—nasal hums, guttural clicks, and soft approximates—recited by classical musician William Socolof who was commissioned for this work.This fragmented vocalization evokes a digital theremin of human sound—precise but devoid of syntax or semantics. These phonemes are divorced from the context and grammar that typically give them purpose. Drawing inspiration from Peter Ladefoged’s phonetic studies and the “ELIZA effect” coined by Joseph Weizenbaum, the piece challenges the viewer’s impulse to interpret, to imbue sounds with meaning even when none is given. In this void, ELIZA questions our innate desire to find coherence, especially in an era of AI and deep learning where the line between human and machine language blurs. ELIZA becomes an introspective experience, prompting viewers to confront the elemental DNA of their language—disembodied, raw, and eerily familiar.

Body in Flux

„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

„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

„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

„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.