2025 . In the Round gathers the many voices of protest and dissent, restaging historical events in a virtual environment. Figures are warming up at the center, then breaking across the field of bright yellows and reds. As chants drift through layered archival sound, cracked loudspeakers flicker and sirens stretch into strange melodic lines — what we hear is no longer what we see. Here, simulation does not smooth over

2024 . Before and Above Us is a cinematic reconstruction of the fractured landscapes of conflict, reinterpreted within virtual space. Drawing on historical sound recordings from public and military archives, the film sequences are recreated within computer-generated environments, blending real events with digital architecture into pictorial compositions. The sound of aircraft cuts through the wind, constantly shifting under an untraceable pressure of anxiety; the clatter of helicopters, distorted interpretations of

2023 . A feat of cinematic brevity, The Shortest Road follows a cabbage as an unlikely protagonist of endurance, carried through a stark, shifting journey across winter roads. The highway becomes a route where past and future loop into each other, a minimalist reduction of the road movie set against the desolate stretches of the Arctic Circle. The film explores themes of displacement, ecological horror, and cultural survival, with a deadpan wit

2022 A Yugoslav architect, Vjenceslav Richter, once imagined a floating pavilion like a sailing ship with a mast, suspended by steel cables. For this project, he planned to recover parts of a bridge destroyed during the Second World War and build the pavilion using the ruins. The Sun, the Mast or Gravity takes these rusted elements to form a branching structure that connects unrealized visions with fallen landmarks—from the mast

2019-2022 . Sites of Encounter is composed of three short films that explore the intersection of spatial memory and architecture within virtual environments.  The story drifts in and out of a conversation, half-thought, half-confession, between a group of characters trying to make sense of contemporary labor conditions, unlocking fragments of collective memory in the silence of virtual space. Exiting the architectures of traditional labor—factories, offices, construction sites—they enter a new terrain

2019 . People engage in social confessions for many reasons: to reveal a truth, express love, seek forgiveness, or relieve guilt. In the age of social media, a ritual of confession has resurfaced upheld by tightly filtered networks and the lure of simplified narratives where solidarity dissolves into a collective uncertainty. Confessional stage diving takes the spectacle of cancel culture and hurls it into the chaos of the crowd, where

2018 . A sense of community can emerge through shared habits. What is considered suitable is learned from others, gradually forming a unified collective body. Project Walkthrough centers on a game that explores a specific set of habits practiced by a group of eight participants. Taking turns and following previously given instructions, the players repeat their individual movement patterns in succession, aiming to achieve a sense of collective body. While

2017 . Scripted role-playing game for 16 characters; 90 min gameplay . Inspired by Pier Paolo Pasolini’s 1969 adaptation of the Greek tragedy Medea, this LARP reimagines the mythical narrative within the context of ecological crisis and resource collapse. The story unfolds on a drifting island of plastic waste, rumored to be inhabited by exiles who have built a self-sustaining society powered by bacteria capable of digesting plastic and radioactive material.

2016-2017 . What happens when bodies become archives, an updated processing of self that is never complete, always streaming, sharing, and saving? Smooth, shifting perspectives navigate through constructed environments populated by silent nonplayable characters called Whales, creatures of the update, or players, who compulsively work to upgrade avatars and gain status within virtual communities, stranded in the low-resolution renderings of progress. Inside and outside is seen simultaneously within a digital

2015 . Good Morning was originally established as a web page focused on the afterlife of images and various social rituals surrounding death. In this project, the internet functions as a cenotaph*—a memorial without a body. To evoke the sterile, contemplative atmosphere of a traditional exhibition space, a series of fictional monuments were digitally constructed using a collage of online sources, including found images, memes, and fragments of internet culture. *In