I work primarily with photography – not as a documentary tool, but as a medium to provoke, construct, and question. My practice is rooted in conceptual and performative image-making, often staging scenes or gestures that unsettle, reframe, and confront how we perceive the body, identity, victims, and systems of power.
For me, photography is a medium for provoking questions rather than providing answers.
The grotesque appears frequently in my work – both as a visual language that disrupts order and as a way of confronting the unspoken. I am drawn to moments where beauty turns unsettling, where attraction and repulsion coexist. I construct my images physically in front of the camera. What you see is materially present. I build surreal visions from raw materials, and animal remains often appear in my work as I explore the fragile boundary between human and animal.
The grotesque has deep roots in Central and Eastern Europe, shaped by our history, politics, and inherited absurdities. For me, it is not merely an aesthetic, but a way of seeing the world when it collapses and contradictions surface. It is a language that allows me to speak about violence, vulnerability, power, and decay – and why I return to it again and again.
Science has always been close to me. It shaped the environment I grew up in, influencing how the people around me explained the world and organized thought. For a long time, I kept my distance and chose art instead – instinctively and stubbornly. But as my practice evolved, I realized that art and science do not have to be in opposition.
My recent work incorporates scientific tools, especially microscopes – not to replicate scientific inquiry, but to subvert it. By merging scientific and artistic methodologies, I aim to challenge dominant narratives about the body and power, anthropocentrism and posthumanism, and the unstable boundary between humans and animals. In this intersection, I seek a potent ground for reimagining how we understand ourselves and the systems we create.
Photography today is often driven by ideals of perfection – smooth surfaces, polished bodies, retouching, and artificial beauty. I deliberately distance myself from this tradition. My work embraces the ugly, the disturbing, the broken. I am interested in images that resist consumption and comfort. I often destroy my own work, physically intervene in it, or allow decay and damage to become part of the final image.