I am interested in images that emerge at the intersection of memory, space, and narrative.
In my practice I work primarily with film, installation, and archival materials, treating them as tools for constructing situations in which the image moves beyond representation and begins to function as an experience.
My projects often begin with fragmentary and found materials such as private photographs, domestic archives, apartment interiors, or obsolete image recording technologies. I am interested in their ambiguous status, suspended between document and fiction, between personal memory and collective imagination. Working with them, I build narratives that do not follow a linear structure but resemble the process of remembering, discontinuous, recurring, and open to distortion.
Space plays a central role in my work, both as a physical and a mental condition. I often refer to specific places such as apartments in housing blocks, transitional spaces, or interiors that feel temporary or abandoned. I approach them as carriers of memory, shaped by traces of presence, everyday life, and time. What interests me is the moment when space stops being a neutral background and begins to act as an active element within the narrative.
My work focuses on the tension between what is visible and what has been repressed or forgotten. I treat the moving image not as a tool of documentation, but as a medium of recall, something that can activate memory while simultaneously constructing and reshaping it. I am drawn to an aesthetic of ambiguity, repetition, and looping, where the experience of time is not linear but cyclical and dispersed.
In my recent projects I have become particularly interested in the relationship between analogue forms of recording and contemporary image technologies, including AI tools. I approach them as another layer of mediation, a filter that does not simply reproduce reality but generates new, often unstable versions of it. In this context, the image becomes a site of negotiation between what has been and what can be imagined.
My practice moves toward creating visual environments that exist at the intersection of film and installation, situations in which the viewer does not simply watch the image, but enters into a relationship with it, moving through layers of time, memory, and fiction.