2014. Modified printer, plotter paper, 5 litres of ink.

A modified digital printer is able to continuously perform printing on a looped-back sheet of paper, running for two months, throughout the entire duration of the show, is repeatedly reproducing one line of text: I Print Therefore, I Am.

2017. Film, 19’34”, 5-ch. video installation, book.
The multi-channel video installation portrays scenes of a future in which governance has largely been outsourced to AI. It is set in a highly automated Moscow in the year 2050.

2014. White t-shirts, film; duration: 02'19".

Kickback is a series of interventions in global fast-fashion retail stores in which modified goods are returned for resale to offer critical commentary on current consumption–production ethics.

2022. Small format custom build server, steel open frame chassis and frame, machine learning algorithms, custom dataset, stereo sound.
A generative algorithmic moving image is synchronised to an audio clip. The morphing visuals choreograph explosions and billowing smoke, while the audio - the voices of senior diplomats from autocratic regimes - rationalises their ongoing war crimes.

2022. E-ink screens, plexiglass, open-source software, fragments of films by investigative journalists.
Fact Caching protects investigative journalism. Censored archives are safeguarded against blocking by being hosted as tiny data bits across thousands of nodes on decentralised networks.

2018. E-ink screens, GAN Ai model, custom assembled dataset, custom-loop server; custom developed playback software driver.
E-ink screens are set to display moving images streamlined by an AI (GAN) algorithm trained on images of inkblots and set to generate similar images at the rate of thousands a minute.

2019. Marble, e-ink screens, custom software & circuit boards, flag.
Twelve Nodes addresses the importance of ethical issues in relation to the misuse of personal data and proposes a collective design for the Fair Data standard, inspired by the Twelve Tables – the first written legal code of ancient Rome.

2011. Movement sensor, PC, film; duration: 1'35''.
The general human question infinitely sinks in the depths of a sequence of virtual space architecture. Each new mouse click takes us away from an answer and question, just as each following step of the development of media environment and virtualization moves us further away from the understanding of what makes reality real.

2015. Plexiglass, steel, led, streaming 360 web-camera, website.
A three-metre object with LED-illuminated text engraving: 'http://this-is-the.link/between/the/real-and-virtual' is installed in public space, facing a 360-degree camera. The displayed URL leads to a live panoramic stream of the site itself, allowing viewers to inhabit the same moment both online and on location, collapsing the boundary between physical and virtual spaces.

2014. LED display board; documentation film: 01’13”.

Emitting the brightest possible cold, white light - the text running across the LED display board repetitively states: “...This very moment, has already become the past – This very mo...”