Catalogue

Sacred Geometry No. 1

2025, digital image

Sacred Geometry No. 1 explores historical systems of visual order through a digitally constructed image, questioning the search for hidden structures in an age of algorithmic seeing.

Dem Bones

2024, single-channel digital video with sound, 40 sec.

Dem Bones reconstructs a Neanderthal voice through artificial intelligence, reflecting on memory, technology and the stories we tell about human origins.

Untitled (Series)

2008–2011, plywood, chalk, marker pen

Untitled (Series) composes found marks produced through construction, repair, measurement and other forms of labour, revealing an anonymous visual culture embedded in everyday activity.

The First Object

2009, chipboard, chalk, marker pen

The First Object presents a functionless chipboard construction as if it were the first object of a world, exploring how meaning and history gather around things after they appear.

Money Cloud transforms the geometric emblems found on banknotes into suspended three-dimensional forms. Covered with photocopies of the original security patterns, the rough handmade structures drift gently in the air, reimagining symbols of authenticity and value as fragile mobile sculptures.

Pathological Form – Desert of the Real

2004, inkjet print, cardboard, card, chipboard and used cardboard boxes

A distant conflict becomes a cave. A censored image acquires depth, while discarded packaging becomes its walls. Pathological Form – Desert of the Real brings the elsewhere of the television image into the space we occupy, until it becomes difficult to say where the image ends and our own reality begins.

Pathological Form — Virtual Pulp

2003, screen prints, cardboard, chipboard, wood

The street becomes the authentic image. A concealed face becomes an abstract object. Somewhere between them, reality is broken into pixels, patterns, fibres and fragments, then assembled again. Pathological Form — Virtual Pulp asks what remains of the world after it has passed through the systems designed to represent it.

Face Off

2002, photocopies, chipboard

The face acquires a second existence. Eyes, mouths and expressions become coordinates, while the circles used to map them escape the screen and grow to architectural scale. Face Off places the viewer inside the crude beginnings of a parallel world in which human presence becomes pattern, data and prediction.

Untitled

2001, TV static, inkjet prints, screen print, chipboard

An empty signal on an empty stage begins to produce images. Bodies and money dissolve into units of pixels, patterns and fragments. Between these two movements, Untitled occupies an uncertain space where meaning appears and disappears – questioning our ability to distinguish between observing the world and constructing it.

PornPix

early 2000s, inkjet print

PornPix enlarges pixelated fragments extracted from already-censored images to bodily scale, treating these digital readymades as cultural artefacts shaped by censorship, abstraction and computational vision.