NEW Media & digital art
IMprint of the departed, 2025
Interactive installation with sound
Dungeon of Queen Ann’s Court,
Old Royal Naval College, Greenwich
Imprint of the Departed transforms the fleeting presence of gallery visitors into ephemeral digital memories. Using a Kinect sensor and TouchDesigner, the installation captures silhouettes in real time and translates them into particle-based forms projected onto the wall. These ghostly outlines freeze for a moment, as if the space itself were remembering its visitors, before gradually dissolving into nothingness.
The work was first presented at the Interim Show in the atmospheric Undercroft of the Old Royal Naval College in Greenwich, a site resonating with themes of absence, traces, and history. Sound played a key role: a reinterpreted sea shanty, The Gallant Frigate Amphitrite, blended with subtle drum textures and spatial delays to create an immersive sonic environment.
By layering technology, sound, and memory, the piece explores the dialogue between the living and the departed, between the immediacy of presence and its inevitable disappearance.
Holy mark, 2025
Interactive installation with sound
Studio work
Holy Mark explores the convergence of faith and technology, reimagining the figure of Mark Zuckerberg as a digital messiah. Presented as a glowing altar crowned by an AI-generated image of Zuckerberg dressed as Christ, the installation reflected on the growing “technotheocracy” of the digital age, where tech leaders hold power once reserved for religious authorities.
Accompanied by choral-inspired sound and an interactive yoga mat inviting visitors to kneel or pose, the work blurred boundaries between worship, self-improvement, and online devotion. It questioned whether our reverence for technology mirrors the rituals and obedience of religion, asking what and whom we truly worship in a world shaped by algorithms.
Right questions, 2025
Interactive installation with sound
Studio work
Right Questions invites visitors into a meditative, confessional space where an AI-driven guide engages them in a deeply personal dialogue. Designed as a one-on-one experience, the work combines a custom-built large language model, an ambient soundscape, and an intimate physical setup reminiscent of ancient confession rooms.
Inside a darkened enclosure lined with sound-absorbing fabric, visitors face only the glowing screen and their own reflection. For seven minutes, they converse with an AI trained to redirect their thoughts toward self-reflection and ethical awareness. The installation’s sonic background, composed of stretched choral vocals, reversed voice textures, and spatial echoes, reinforces the contemplative atmosphere, creating a sense of isolation and focus.
Premiered in January 2025, the piece explores how technology might serve not as a distraction but as a medium for introspection. It reflects on the evolving relationship between humanity and artificial intelligence, suggesting that genuine change begins at the level of the individual mind.
What is this place?, 2025
Interactive installation with sound
stephen lawrence gallery
What is this place? is an interactive installation that positions the visitor as a traveller between worlds, between body and data, reality and imagination, religious ritual and technological experience.
At its centre stands a two-metre-high aluminium obelisk, a sharply cut sculpture resembling an object from another world. It is surrounded by a semi-transparent polycarbonate capsule, creating a threshold space. The material itself symbolises technological “transparency”. The installation is therefore both open and closed, inviting and distant.
When a visitor steps inside the capsule, a hidden PIR motion sensor activates the process of “teleportation.” The obelisk awakens with a scanning sound, while the custom-built application generates a text via ChatGPT, transforms it into a synthetic voice through ElevenLabs, and delivers it as a guided meditation. Each experience is unique - languages, scenes, and tonalities vary. The participant is invited to close their eyes and be transported elsewhere: to a desert, a river, a metropolis, or a speculative sci-fi landscape.
The work reflects how today’s technological corporations (through algorithms, recommendation systems, and advertising) shape our desires and cultural directions. Much like the church once dictated truth and history, today’s platforms exercise a similar authority, often invisibly. The obelisk thus becomes a kind of “digital altar,” staging a new form of ritual.
The meditations are delivered by a synthetic voice, a guide who never truly existed. This “speaker” is an AI model, a digital imprint of another voice, infinitely reusable. I am fascinated by how our identities increasingly migrate into the digital sphere from voice cloning to deepfake avatars. The installation asks: if our presence can be fully simulated, what does this mean for authenticity and continuity of the self?
BLOOMS, 2025
Artist publication, SOnic Landscapes
available ONLINE
In the course of working on this publication I worked both digitally and physically due to the nature of the whole project I felt it was necessary and at the same time I was determined to deal with the physical side of things and not just the digital.
The idea of a physical artifact for my art publication went through several revisions. The first thing I did was to take pictures of flowers I could be inspired by and choose them for my piece and look up detailed information about them.
At the beginning of the project, I wanted to incorporate concrete as an element that will hold the aluminum plate, as I generally like the aesthetics of concrete and iron, and I can then print a QR code on the aluminum plate that will direct to the website. I tried to make a concrete prototype, but in the end I decided that concrete wouldn't be the ideal material and it didn't really fit the overall concept of the piece anyway.
By layering technology, sound, and memory, the piece explores the dialogue between the living and the departed, between the immediacy of presence and its inevitable disappearance.
That's why I thought it might be interesting to include some other element - ice. Right after that I thought of a metaphor for digital space and its "preservation". I first tried freezing the flower directly, as I was wondering how the whole process would look like and if I could eventually use it for a photo for the web (as the work is already in a "captured" "digitalised" state), so I made a few attempts, however after further thought I decided to try to generate an ice cube with frozen flowers using AI as the clarity of ice will never be ideal. At the same time, I then thought of stamping the outline of the flower to which the plate will be bound on each plate along with the QR code.
At the beginning of the project, I wanted to incorporate concrete as an element that will hold the aluminum plate, as I generally like the aesthetics of concrete and iron, and I can then print a QR code on the aluminum plate that will direct to the website. I tried to make a concrete prototype, but in the end I decided that concrete wouldn't be the ideal material and it didn't really fit the overall concept of the piece anyway.
I tried experimenting in the workshop and finally, with the help of an assistant, I was able to create a 7x7 cm cubic mould made of plastic (printed on a 3D printer) into which I will be able to pour water and let it freeze together with the prepared aluminum plate. Unfortunately it didn't go completely as planned as after the first freezing and thawing, the material started to leak water, so I had to insert a bag into the prepared cube to keep the water from escaping - this solution worked well. With the aluminum plate itself, I also went through several rounds of testing, from cutting it into precise pieces to filing, rounding all the edges and sanding to the ideal ratio of resolution and size of the QR code and the outline of the flowers.
In the course of testing prototypes of physical artifacts, I also worked on an interactive website through the Wixstudio platform, so that it would meet my ideas and also function as a player for the individual works. As I mentioned, I also used OpenAI's advanced image generator to generate ice cubes to "cover" the image on the web and icons for the aluminum plates.
