My works examine reality not as a fixed condition, but as an ongoing process of medial construction. They are based on the assumption that perception is never immediate, but always mediated through technical, cultural, and aesthetic systems.

The exclusive use of digital media is therefore not merely a technical decision, but part of the conceptual reflection itself. Digital images and sounds initially exist as abstract information — as code, computation, and algorithmic structure — and must ultimately be translated back into analog experience in order to become perceptible to humans. Visibility and audibility thus appear not as neutral properties, but as culturally and technologically produced conditions.

Across photography, film, sound, and installation, the works explore shifts of attention: the relationship between surface and meaning, manipulation and documentation, visibility and omission. Themes such as corrosion, weathering, growth, or atmospheric processes function as metaphors for social and medial dynamics.

The formal openness of the work rejects the idea of a closed stylistic system. Different media and aesthetic strategies are instead understood as necessary tools for investigating complex models of perception and reality.