My work explores how our visual surroundings are perceived through frameworks of ritual, mysticism, constructed narratives, and superstition.
I’m interested in a wide range of subjects — from the negative perception of brutalist architecture in the countries of the former Yugoslavia, to issues of communication and censorship in contemporary art networking, death depicting in visual culture and meaning of landscape.
My research explores questions related to the perception of time, memory, culture, folklore, religion and arcitecture — more specifically, how these narratives were constructed, transmitted, and what layers and distortions they have undergone over time. In my work, I draw parallels between the sacrificial Lamb of God and a genetically mutated Dagestani lamb with a “human face,” between Hermes’ sandals and neo-Nazi boots, between stars in the cosmos and Soviet heraldry. I’m deeply interested in the processes of information transfer and accumulation — how one story, symbol or aspect through the erosion of time, can become entirely different from its original version; how people vanish from old family archives; how buildings are born and demolished.
Another essential aspect of my practice is the observer effect. We choose the reality we live in. I often depict my position as that of an accidental observer, capturing scenes such as markets, psychiatric institutions, panoramas of ancient Balkan cities, or the mist over Prangli Island. A central role in my artistic approach is played by the transmission of time and space — the fixation of geographic and mental places tied to stories, memories, and events of both personal and global significance.
In my curatorial practice, I continue to work with themes that are personally fundamental to me — memory, death, ritual, the creation and reproduction of reality through the prism of personal (often tragic) experience, and mental releationships between people and architecture.