ARTIST STATMENT

I’m a lens-based and mixed-media artist working across experimental photography, scientific imaging, sculpture, printmaking, bioart, and holography. My practice began with photography and has expanded into diverse image-making processes and physical forms. I’m interested in how images are constructed, how they acquire authority, and what happens when they are altered, fragmented, transformed, or destroyed. I work across analogue, digital, biological, and scientific processes, bringing different methodologies together to question how we understand bodies, reality, knowledge, and systems of power.

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. It is a language that allows me to speak about violence, vulnerability, power, and decay – that’s why I return to it again and again.

ART AND SCIENCE

Science has always surrounded me. It shaped the environment I grew up in and the ways people around me explained and organised the world. For a long time, I kept my distance and chose art instead. As my practice evolved, I became increasingly interested in the overlap between artistic and scientific methods.

I work with microscopy, biological processes, and scientific imaging, using these methods to construct new images. I have grown bacterial cellulose as a photographic surface, developed pigments from biological materials, and used microscopy to observe processes of growth, transformation, and decay. More recently, my research has moved towards holography.

These processes allow me to question the authority of scientific images and the assumption that seeing something means understanding it. Through scientific methodologies, I explore the body, anthropocentrism, posthumanism, and the unstable boundary between humans and other forms of life.

I’m interested in what happens to an image when it can no longer remain intact. Photography is often associated with preservation, permanence, and the act of retouching. My practice moves in the opposite direction. I work with materials and processes that allow images to crack, fade, dissolve, fragment, multiply, or disappear. Photographs can become physical objects, exist on living or decaying surfaces, be repeatedly reproduced until they lose information, or transform through printing, biological growth, and holography. I’m interested in the image as a material thing, with its surface, substrate, method of production, and eventual deterioration becoming part of the work.

Destruction becomes a form of image-making, revealing what remains when an image loses its original form, authority, or stability.