Around the age of 12-14. Growing up in a family of computer scientists, it was clear I had to break the family tradition. I did not want to be an artist; I just became one since it was clear it was the thing I was best at.

What I describe as the Safe and Sound Meta-Project (which is ongoing since 2014) started in my first year in Berlin. It had to do with a change of environment and things I observed that grabbed my attention during that time. But looking back, it’s a subject that is very much present in earlier work as well. Visual expressions of safety are present wherever humans are stationed. The aesthetics may vary from one place to another but lately, safety and security methods get more articulated and less improvised everywhere. It’s fascinating!

It is a recent solo show at Christine Koenig Galerie, which was heavily influenced by the pandemic when it was all new and completely overwhelming. The show opened half a year after it was originally scheduled, which seemed wild at the time… but this suspension gave the show more depth and complexity.
The Long Stretch is indeed a warp and weft of historical and contemporary anecdotes on subjects such as control and safety. Beyond the works themselves, I made some bold decisions concerning the limitation of movement in the space and the usage of artificial light. That made the ideas behind the works appear with more clarity and intention.

You got to get in to get out will open in October 2021, it is curated by Carolina Jiménez and Sonia Fernández Pan. In their words, the show “takes techno as a cultural, social, historical and material entity.” I will show Dark Ages 2020, a large-scale sound and light installation, alongside excellent artists such as Tony Cokes and Cyprien Gaillard. As described well by Seamus Kealy, the director of Salzburger Kunstverein (which showed the work first in 2019): "A variety of LED lights, products of the booming vehicular light industry, are embedded in these vertical architectonic sculptures. These all illuminate intermittently, behaving as coded signals communicating with one another in a choreographed chain reaction."

The industry of safety gear and material technologies is going through constant progression in response to the high demand from the private and public sectors. I guess that, in a parallel process, my work is evolving similarly. Since I have become more knowledgeable with time, my research and production go more in-depth; my interest in the world around me keeps growing, though always with the safe distance of an observer.

I am interested in what is highlighted, what is camouflaged, and what is hidden in our urban landscapes. High visibility colours have a fascinating history, in the conjunction between magical tricks and entertainment and army industry. I described it in my Safe and Sound Deluxe Edition in detail. Darkness, on the other hand, allows disappearance. The two correspond to one another in a kind of Yin and Yang fashion.

The potential viewer is the missing part of the puzzle; without the viewer, the work is not complete. Therefore, all the decisions made concern the physical and sensory aspects that my works propose, in any format suggested (including web). They all lean on the human perspective.

I’ve been doing work for the stage, on and off, since my studies and I feel fortunate to have gained this experience. There are countless things this type of work allows: working with such diverse teams, working on large-scale formats (which is the thing I love most), having a different type of responsibility than I have as an artist, and much more. What is most important for my practice is the choreography of time, which does not thereby default in visual art. How much drama time can create!

This year has been a rollercoaster for me, as for so many. I and my practice will not be the same when this nightmare is finally over. But I feel fortunate to be able to do my work nevertheless. I’m currently focused on more content and more public space. By content, I mean depth through research. By public space, I mean creating work that people who are not necessarily interested in art can be exposed to.
The artworld is currently in a dissolved state; the bubble exploded and shed into pieces, and I am saying this without exaggeration. From here, we can only grow and expand.