Always Perpetual II - Everdance (2026)
(series)
Print on vinyl, sew-on patches, acrylic spray paint, marker, drawing ink, bleach, acetone
70cm x 200cm
“Always Perpetual II” is a digital collage inspired by French Renaissance tapestries and illuminated manuscripts of varied religious origin. The artwork was assembled from impersonal stock graphics, heavily circulated imagery used in memes and scanned drawings of humanoid figures. The finished work was then printed on vinyl, commonly used for commercial advertising. The print is then transformed by handmade marks and textures achieved through physical distressing, drawing and photo transfer.
The “Always Perpetual” series aims to capture the way digital technologies and spiritual systems are affecting each other in an ever-accelerating capitalist and interconnected society that liquidates all social, personal and cultural structures into a single advertisable product. It asks about the nature of what is personal in a world of endlessly reproducible objects. Due to the historical range of source material, it also asks questions about the permanence of ideas like belief, temporality and self throughout human visual history.
Always Perpetual II - Everdance (2026)
(series)
Print on vinyl, sew-on patches, acrylic spray paint, marker, drawing ink, bleach, acetone
70cm x 200cm
“Always Perpetual II” is a digital collage inspired by French Renaissance tapestries and illuminated manuscripts of varied religious origin. The artwork was assembled from impersonal stock graphics, heavily circulated imagery used in memes and scanned drawings of humanoid figures. The finished work was then printed on vinyl, commonly used for commercial advertising. The print is then transformed by handmade marks and textures achieved through physical distressing, drawing and photo transfer.
The “Always Perpetual” series aims to capture the way digital technologies and spiritual systems are affecting each other in an ever-accelerating capitalist and interconnected society that liquidates all social, personal and cultural structures into a single advertisable product. It asks about the nature of what is personal in a world of endlessly reproducible objects. Due to the historical range of source material, it also asks questions about the permanence of ideas like belief, temporality and self throughout human visual history.
The Manual (2026)
Cotton rag paper, acrylic spray paint, alcohol ink, drawing ink, marker, pencil, bleach, acetone
21cm x 24cm (1 page) - 80 pages
“The Manual” is an artist book containing abstract diagrammatic drawings suspended between automatic method and conscious intention. Using markers, inks and solvents caused the drawings to bleed through the pages, creating the basis from which the next drawing was made, forming an interconnected continuum.
The drawings were inspired by biological illustrations in premodern manuscripts and contemporary scientific diagrams. This book is an exploration into the perceived mystical quality that reveals itself when scientific context becomes distorted through removal of information or by temporal displacement. Through this, the book aims to question the illusion of magical power that science can hold.
The Manual (2026)
Cotton rag paper, acrylic spray paint, alcohol ink, drawing ink, marker, pencil, bleach, acetone
21cm x 24cm (1 page) - 80 pages
“The Manual” is an artist book containing abstract diagrammatic drawings suspended between automatic method and conscious intention. Using markers, inks and solvents caused the drawings to bleed through the pages, creating the basis from which the next drawing was made, forming an interconnected continuum.
The drawings were inspired by biological illustrations in premodern manuscripts and contemporary scientific diagrams. This book is an exploration into the perceived mystical quality that reveals itself when scientific context becomes distorted through removal of information or by temporal displacement. Through this, the book aims to question the illusion of magical power that science can hold.
Mutation (2026)
Print on plexiglass, acrylic spray paint, alcohol ink, drawing ink, bleach, acetone, PVA glue, grout, stainless steel chain, stainless steel O-rings
59.4cm x 42cm
“Mutation” is a chemically distressed print on opaque plexiglass. Layered with an additional print on laser-cut transparent plexiglass, it creates a stacked image of a body separated into two overlapping planes. One that is withered, evoking old, deteriorated structures and the other, glossy, with mechanical etchings of different systems – technological, biological and ideological that blend into the print.
The resulting image is of a displaced human body, not mutated by inner biological processes but by forces humanity established.
Mutation (2026)
Print on plexiglass, acrylic spray paint, alcohol ink, drawing ink, bleach, acetone, PVA glue, grout, stainless steel chain, stainless steel O-rings
59.4cm x 42cm
“Mutation” is a chemically distressed print on opaque plexiglass. Layered with an additional print on laser-cut transparent plexiglass, it creates a stacked image of a body separated into two overlapping planes. One that is withered, evoking old, deteriorated structures and the other, glossy, with mechanical etchings of different systems – technological, biological and ideological that blend into the print.
The resulting image is of a displaced human body, not mutated by inner biological processes but by forces humanity established.
Worldgorger (2026)
Plastic jerrycans
56cm x 11cm x 23cm
“Worldgorger” is a totemic sculpture made from plastic industrial jerrycans. It acts as a deified representation of liquidation and consumption of natural resources. It poses a question of what remains when that which consumes is held in a higher regard than that which is consumed.
Worldgorger (2026)
Plastic jerrycans
56cm x 11cm x 23cm
“Worldgorger” is a totemic sculpture made from plastic industrial jerrycans. It acts as a deified representation of liquidation and consumption of natural resources. It poses a question of what remains when that which consumes is held in a higher regard than that which is consumed.
DRIVE (2026)
Video (loop) - single channel 1920x1080px
[4s]
„DRIVE” is a looping video made of sped-up long train journeys and car rides, appropriated from YouTube. The footage was later datamoshed together, creating a single never-ending, always-forward voyage through space and time.
DRIVE (2026)
Video (loop) - single channel 1920x1080px
[4s]
„DRIVE” is a looping video made of sped-up long train journeys and car rides, appropriated from YouTube. The footage was later datamoshed together, creating a single never-ending, always-forward voyage through space and time.
Map of Transmutation (2026)
Print on canvas, bleach, drawing ink, tea
100cm x 200cm
“Map of Transmutation” is a collage made out of scanned drawings and scientific diagrams, printed on a distressed canvas, chemically treated to look like a historical artefact from the past.
Map of Transmutation (2026)
Print on canvas, bleach, drawing ink, tea
100cm x 200cm
“Map of Transmutation” is a collage made out of scanned drawings and scientific diagrams, printed on a distressed canvas, chemically treated to look like a historical artefact from the past.
Always Perpetual (2025)
(series)
Print on vinyl, sew-on patches, acrylic spray paint, marker, drawing ink, bleach, acetone
300cm x 200cm
“Always Perpetual” is a digital collage inspired by French Renaissance tapestries and illuminated manuscripts of varied religious origin. The artwork was assembled from impersonal stock graphics, heavily circulated imagery used in memes and scanned drawings of humanoid figures. The finished work was then printed on vinyl, commonly used for commercial advertising, with additional panels made from consumer-grade sew-on patches. The prints are then transformed by handmade marks and textures achieved through physical distressing, drawing and photo transfer.
The “Always Perpetual” series aims to capture the way digital technologies and spiritual systems are affecting each other in an ever-accelerating capitalist and interconnected society that liquidates all social, personal and cultural structures into a single advertisable product. It asks about the nature of what is personal in a world of endlessly reproducible objects. Due to the historical range of source material, it also asks questions about the permanence of ideas like belief, temporality and self throughout human visual history.
Always Perpetual (2025)
(series)
Print on vinyl, sew-on patches, acrylic spray paint, marker, drawing ink, bleach, acetone
300cm x 200cm
“Always Perpetual” is a digital collage inspired by French Renaissance tapestries and illuminated manuscripts of varied religious origin. The artwork was assembled from impersonal stock graphics, heavily circulated imagery used in memes and scanned drawings of humanoid figures. The finished work was then printed on vinyl, commonly used for commercial advertising, with additional panels made from consumer-grade sew-on patches. The prints are then transformed by handmade marks and textures achieved through physical distressing, drawing and photo transfer.
The “Always Perpetual” series aims to capture the way digital technologies and spiritual systems are affecting each other in an ever-accelerating capitalist and interconnected society that liquidates all social, personal and cultural structures into a single advertisable product. It asks about the nature of what is personal in a world of endlessly reproducible objects. Due to the historical range of source material, it also asks questions about the permanence of ideas like belief, temporality and self throughout human visual history.
Always transient (2025)
Print on plexiglass
70cm x 140cm
“Always Transient” is a digital collage of maps, diagrams and schematics representing different pathways of human transience. The blood network, electric circuits, maps of migrating human populations or religious diagrams representing the journey of a human soul towards salvation are all ripped from their original context and take the form of a homogeneous mass of endless transitional channels.
This work highlights change and liminality as the common ground for human life across different spheres – whether spiritual, biological or technological.
Always transient (2025)
Print on plexiglass
70cm x 140cm
“Always Transient” is a digital collage of maps, diagrams and schematics representing different pathways of human transience. The blood network, electric circuits, maps of migrating human populations or religious diagrams representing the journey of a human soul towards salvation are all ripped from their original context and take the form of a homogeneous mass of endless transitional channels.
This work highlights change and liminality as the common ground for human life across different spheres – whether spiritual, biological or technological.
DOOMER (2025)
Video - single channel 1920x1080px
[7m 58s]
“DOOMER” is a short film stylised to look like a screen-recorded chaotic internet deep dive. It follows a futuristic, disjointed tale of an online search for the meaning of life in the age of ever-accelerating technological super-advancement.
The story centres around a non-descript viewer who, while watching a popular streamer, receives a cryptic message through a pop-up ad. One click later, they are thrust onto a pixel-filled path towards self-discovery.
As they descend the digital rabbit hole, the viewer reflects on their bodily and mental limitations. Struggling to make sense of the world surrounding them, they turn to technology, spirituality, philosophy and pleasure in hopes of finding a form of existential direction.
While their journey continues and more content is consumed, the lines between the online and physical world blur together until nothing is certain and all possibilities have been exhausted, leaving… what exactly?
This film attempts to illustrate a global existential conundrum many young, internet-era-born people are facing. Through stream-of-consciousness-like musings and cluttered, abrasive, stock-footage-filled visuals, this film aims to offer solace in the knowledge that in this cold vacuum of binary codes, you do not orbit alone.
“DOOMER” was part of the 2025 London Experimental Film Festival programme.
DOOMER (2025)
Video - single channel 1920x1080px
[7m 58s]
“DOOMER” is a short film stylised to look like a screen-recorded chaotic internet deep dive. It follows a futuristic, disjointed tale of an online search for the meaning of life in the age of ever-accelerating technological super-advancement.
The story centres around a non-descript viewer who, while watching a popular streamer, receives a cryptic message through a pop-up ad. One click later, they are thrust onto a pixel-filled path towards self-discovery.
As they descend the digital rabbit hole, the viewer reflects on their bodily and mental limitations. Struggling to make sense of the world surrounding them, they turn to technology, spirituality, philosophy and pleasure in hopes of finding a form of existential direction.
While their journey continues and more content is consumed, the lines between the online and physical world blur together until nothing is certain and all possibilities have been exhausted, leaving… what exactly?
This film attempts to illustrate a global existential conundrum many young, internet-era-born people are facing. Through stream-of-consciousness-like musings and cluttered, abrasive, stock-footage-filled visuals, this film aims to offer solace in the knowledge that in this cold vacuum of binary codes, you do not orbit alone.
“DOOMER” was part of the 2025 London Experimental Film Festival programme.
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CRASH (2024)
Video (loop) - single channel 1920x1080px
[1m 53s]
„CRASH” is a looping video made of short dashcam clips of car crashes and recordings from concert mosh pits, appropriated from YouTube.
This video presents two opposite ends – the violent death of a car crash and the extreme affirmation of life expressed through moshing. Both are directed by speed and violence. Both are spliced and accelerated to the point where one becomes indistinguishable from the other.
CRASH (2024)
Video (loop) - single channel 1920x1080px
[1m 53s]
„CRASH” is a looping video made of short dashcam clips of car crashes and recordings from concert mosh pits, appropriated from YouTube.
This video presents two opposite ends – the violent death of a car crash and the extreme affirmation of life expressed through moshing. Both are directed by speed and violence. Both are spliced and accelerated to the point where one becomes indistinguishable from the other.