PANTHEON, 2014 - Gallery is being updated


PAESAGGIO*, 2013 <





BURIAL, 2013-2016


PANTHEON, 2014 - Gallery is being updated



TAPE DRAWINGS, 2014-2015

In spring 2014, I started artist residency at the Royal Scottish Academy Collections. Tape Drawings emerged from my time at the collections. Initially I was interested in the ties of RSA to development of early photography. However gradually I decided to spend my time looking closer at early documentary photographs of Academicians.

What captured my attention, were not the best example of Victorian photographs in RSA Collection holdings, but the marginal occurrence. I was interested in the discoloration on the photographs caused by conservation tape over time. I have gathered all the marks appearing on photographs, one by one. Then documented and rearranged them. The initial body of work consists of those tape drawings. It refers to sculptural body without being one; presence created in tool less way - by time.

The conflict between 3D and 2D has been occupying my work for a while. As I prefer to and work comfortably in flat, the interest in sculpture and material as such has been consistent element and inspiration in my work. It is more prominent at times, as it is in Tape Drawings case. It makes me question tools used to make work: limiting unnecessary and looking into my work methodology.


Series of prints in folio




绿皮书 (Lǜ pí shū)

GREEN (PAPER) BOOK, 2011- 2012

Green (Paper) Book is dedicated to the strip of land in Beijing, China.
Few meters wide, strip surrounds Beijing high way, linking city centre with airport and non - city land. I was captivated by people employed to maintain greenery in this not obviously agricultural location. The location represents the travel towards city, where the dreams supposed to come truth. Henri Rousseau’s book became an excuse to talk about current labour and land related issues in real and metaphoric landscape context. Green Paper Book also touches on art production and idea of original, which are often present in my practice.

Series of 13 Prints, Fujicolor Cristal Archive Paper, 2012



In spring 2012, I received an email inviting me to take part in the publication, hosted by Southern Nevada Museum of...
Not knowing much about either the way email has reached me, neither about the venue itself, but intrigued by the word: 'museum', I started my virtual voyage through LA suburbia in quest to find it. I used Google Street Maps to try to locate 'the museum' on the map. Not being successful, I started my two weeks journey through suburbs of Los Angeles.  Project documents it and becomes my response to the invitation. But more importantly, it deals with idea of the place, its real form and its virtual presence on the web. I become more and more interested in investigation what kind of reality I am in, while exploring streets view of LA and how accurate it is, after all. The "Southern Nevada Museum of…" explores not only the virtual landscapes of LA, but possibilities of creating virtual identity. It distantly echoes street photography, but also questions what is that we are actually looking at, how close is it to the real and how easy it is to became on the web.



Fascinated by limitations of technology in representation, I have gathered evidence of network errors. Photographs are from Michael Jackson clip to 'Smooth Criminal' from October 1988(re-released in 2006) and the auditions to the British X Factor. None of the photographs have been digitally manipulated. Nothing has been changed from their original appearance on YouTube.

The project looks into ways of creating photographs and the relationship between photography and painting.

Nuance occurrence on YouTube documented in photographs reminiscent of large format abstract paintings. Mistakes are as beautiful and vivid in colours as abstraction by greats like Rothko, late Monet’s work in Giverny. The series is my reinterpretation of abstract painting at a point of time. It also highlights continuity of artists using photographs alongside painting and interweaving of both mediums. For me, photography has been medium of its own rights from very beginning I started to work with photographs. Therefore the works are not repainted or photography involvement hidden, but are presented as they are as an ephemeral occurrence searched for and captured in photograph.


2 Durst Lambda C Prints, 2011(part of Degree Show, ECA 2011)




‘‘We live in the present, we dream of the future and we learn eternal truths from the past.’’
   M. Chiang Kai-Shek



Project documents GOOGLE ART PROJECT allowing to access 17 world class museums without necessity to travel there.

Focused on: MOMA, Palace of Versailles, and Museo Thyssen- Bornemisza in Madrid and Rijksmuseum in Amsterdam. It captures spaces between fiction and reality, as familiar as misrepresented by pixels. Spaces of 'Museo'* are difficult to define. They oscillate between the carefully arranged collections of preserved past and the digital technology, which uses street view as way to see, explores and experience.



FRIEZE, 2010