De Poortwachters
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De Poortwachters (2025) depicts two children with Down Syndrome as a plaster relief in a former schoolbuilding. This site-specific installation is based on an archival photograph from the 1960’s from when the building was in use as a school for children with mental disabilities.
I applied techniques of depth mapping and 3d printing to create the reliefs. They blend in as if they have always been there, contrasting with the historical tendency to hide anything from public sight that deviated from what was considered normal.
De Poortwachters (2025) depicts two children with Down Syndrome as a plaster relief in a former schoolbuilding. This site-specific installation is based on an archival photograph from the 1960’s from when the building was in use as a school for children with mental disabilities.
I applied techniques of depth mapping and 3d printing to create the reliefs. They blend in as if they have always been there, contrasting with the historical tendency to hide anything from public sight that deviated from what was considered normal.
Theatrum Mnemosynesview project ︎︎︎
This installation (2025) consists of plaster ornaments and collages that mimic architectural building plans. The shapes are based on images from historical medical books on pediatrics: photographs of deformities, lesions, microscopic views of cancer cells—images originally burdened with trauma, loss, and clinical detachment. Through processes of repetition, mirroring, and transformation—echoing the logic of ornament—I perform a kind of visual EMDR: softening and reassembling the images into a harmonious rhythm.
Theatrum Mnemosynes refers to an imaginary theatre where life’s scars are reimagined as sources of beauty, resonance, and perhaps even consolation.
This installation (2025) consists of plaster ornaments and collages that mimic architectural building plans. The shapes are based on images from historical medical books on pediatrics: photographs of deformities, lesions, microscopic views of cancer cells—images originally burdened with trauma, loss, and clinical detachment. Through processes of repetition, mirroring, and transformation—echoing the logic of ornament—I perform a kind of visual EMDR: softening and reassembling the images into a harmonious rhythm.
Theatrum Mnemosynes refers to an imaginary theatre where life’s scars are reimagined as sources of beauty, resonance, and perhaps even consolation.
The Chronicles of the Stochastic Parrot: Cosmotheoros
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This video (2025) is a fictional documentary inspired by Cosmotheoros: a visionary text on possible life on other planets written in 1698 by the great Dutch scientist Christiaan Huygens, also considered as the first science-fiction book in history.
In collaboration with AI video generating I brought to life my archive of cut out imagery on popular-scientific topics, such as stones and minerals, plants, animals, space travel, art, medical science and marine life. The result presents intrinsically powerful but in essence still unintelligent techniques hallucinating on intelligent life in the universe.
This video (2025) is a fictional documentary inspired by Cosmotheoros: a visionary text on possible life on other planets written in 1698 by the great Dutch scientist Christiaan Huygens, also considered as the first science-fiction book in history.
In collaboration with AI video generating I brought to life my archive of cut out imagery on popular-scientific topics, such as stones and minerals, plants, animals, space travel, art, medical science and marine life. The result presents intrinsically powerful but in essence still unintelligent techniques hallucinating on intelligent life in the universe.
Paleis der Fotografische Sculpturen
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Paleis der Fotografische Sculpturen (2024) is an immersive installation presenting a large collection of altered photographic images of sculptures alongside their source materials from historical books. The walls of the exhibition space are transformed into colored planes that function as two-dimensional display cases, with photographs arranged in a salon-style hanging reminiscent of the 18th and 19th centuries. The work embodies a semantic cycle—from human to sculpture, from image to raw material—unfolding as a continuous repetition and transformation of form.
Paleis der Fotografische Sculpturen (2024) is an immersive installation presenting a large collection of altered photographic images of sculptures alongside their source materials from historical books. The walls of the exhibition space are transformed into colored planes that function as two-dimensional display cases, with photographs arranged in a salon-style hanging reminiscent of the 18th and 19th centuries. The work embodies a semantic cycle—from human to sculpture, from image to raw material—unfolding as a continuous repetition and transformation of form.
Michelangelo Iconoclastia
view project ︎︎︎
The Michelangelo Iconoclastia artist book series (2023-2025) consists of 36 reproductions of an old ubiquitous art historical tourist guide on the work of the Michelangelo Buonarroti, in which the photographic reproductions are transformed with the aid of AI.
The encyclopedic result refers to a cycle of destruction and rebirth. The different appearances of each original image across the different volumes together form families of images imbued by their shared visual origin, like instances of a underlying organisational source.
At the same time it reveals the endlessness– and therefore also the possible meaninglessness – of such unique manifestations.
The Michelangelo Iconoclastia artist book series (2023-2025) consists of 36 reproductions of an old ubiquitous art historical tourist guide on the work of the Michelangelo Buonarroti, in which the photographic reproductions are transformed with the aid of AI.
The encyclopedic result refers to a cycle of destruction and rebirth. The different appearances of each original image across the different volumes together form families of images imbued by their shared visual origin, like instances of a underlying organisational source.
At the same time it reveals the endlessness– and therefore also the possible meaninglessness – of such unique manifestations.