My artistic practice is based on long-term research that focuses on the relationship between human activity, environment, and technology. My work has a documentary background and often begins in specific existing areas in direct contact with people who are connected to the topic I am interested in. In part, I present the recorded material in exhibitions through photographic and video works. The documentary method provides necessary background for my more experimental practice – such as working in the stratosphere or biological image creation.

My work depends on the people I interact with, the environments in which I work, and the materials I come into contact with. Non-human forces often play a role in my work, including microorganisms, minerals, gravity, air movement and sunlight.

I started working in the field of artistic research in order to better understand the connection between information technology, its materiality, and energy demand - Center of Doubt, 2012–2018; The Flood, 2018–2020. Through this work period I gained a fairly good understanding of the fact that the material needs of information technology are not very different from those of earlier industries and that it requires massive consumption of existing environment in order to keep the system running.

In Habitat, 2019–2022, I observed the construction of the Tesla factory near Berlin and noticed that the area itself began to influence my work. The construction process remained in the background, and the focus shifted to other species living in the area. Rapid, small-scale environmental changes included the relocation of sand lizards from the factory grounds and the fight against the invasive late cherry species. Focusing on the concept of invasion drew parallels with the activities of the technology company.

In the biological works, such as Universals I, 2020–2023, and Multiple Centuries of Sunlight, 2024–2025, microorganisms transform an image over a long period of time. The focus of these works is human dependence on other life forms and the constant exchange of energy. The Second Earth, 2023–2025, is created through an uncertain, partially uncontrollable process that depends directly on weather conditions and, on the other hand, on technological possibilities.

A Little Less Blue Skies, A Little More Red Sunsets The Conversation, 2021–..., is based on communication with various scientists. Solar Geoengineering Archive, 2025–…, is an ongoing collaboration with Mica Cabildo, an artist living in the Philippines. Both projects relate to solar geoengineering and aim to stimulate discussion about global scientific proposals.

My recent work is based on research into techno-utopian thinking, which can lead to the belief that humans can control the Earth’s climate system Second Earth, 2023–2025; SUNKISSED, 2025; and A Little Less Blue Skies, A Little More Red Sunsets, 2024–2025. I have focused on defining the relationship between humans and their environment, which is increasingly beginning to define the boundaries of this relationship. In this context, I am interested in the set of relationships that emerges – forecasting the future, modelling and unpredictability, the limits of human control, the incompatibility of the local and the global, non-human forces and entropy, belief and language systems, and persuasion, trust and manipulation.