Category: Uncategorized

Live performance / 20 min / 2026

Technical images — visual content produced by apparatuses, algorithms, and media systems — actively participate in shaping how we perceive reality. They become inscribed into the structure of consciousness, influencing our cognitive, affective, and conative mechanisms.

Today, identity is increasingly constituted through established patterns of visual culture: influencer footage, advertising imagery, film scenes, AI-generated stagings, social media content, and the continuous circulation of visual codes.

The concept of the technical image, introduced by philosopher Vilém Flusser in the 1980s, points to images that no longer remain external to the subject. They penetrate mental space, form internal representations, and shape how an individual imagines the self and their own experience.

The boundary between external and internal images consequently becomes unstable: mental images increasingly assume the structure of technical images, while technical images begin to take over the functions of memory, imagination, and projection.

This performance was presented live at the 28th International Multimedial Art Festival (IMAF), held at the SULUV Gallery in Novi Sad, Serbia, in September 2026.

Four digital prints / 100 x 70 cm each / 2014

Six code-processed photographs / One original photograph / 100×70 cm each / C-print / 2010

Further Beyond the End is a series of five digital prints generated from a single analogue photograph from my childhood. After scanning the photograph, I processed and altered its digital code by inserting fragments of children’s poems by Serbian poet Miroslav Antić. Drawing on Boris Groys’s notion of the digital image as a visible manifestation of invisible data, each intervention in the code produces a new visual outcome. The resulting transformations and distortions reflect the unstable nature of memory, questioning the relationship between the original event, the photograph, and its continuously reconstructed remembrance.

Polyptych / Five digital collages / 100 × 64 cm each / C-print / 2022

This series of digital collages examines the body as an increasingly unstable construct within contemporary visual culture. Images sourced from erotic magazines are layered, fragmented, and digitally manipulated until their original photographic content becomes almost imperceptible. The body, once presented as an object of desire, dissolves into fluid and kaleidoscopic structures that oscillate between figuration and abstraction.

The works reflect on the paradox of a culture increasingly obsessed with the optimization of the body—its strength, health, youth, and sexual desirability—while simultaneously producing ever more artificial, filtered, and manipulated images of it. In this tension, the body emerges not as a stable physical entity, but as a fragmented and continuously reconstructed image.

No AI-generated imagery was used in the creation of these works.

Polyptych (series of 90 drawings) / ink / 21 × 29.7 cm each / 2016

The series is conceived to be exhibited exclusively as a polyptych, comprising all 90 drawings as parts of a single conceptual framework. The 20 drawings presented here are a selection from the complete series. The cube was the starting point of my investigation. I depicted it from multiple perspectives over a defined period of time, exploring the possibilities, rhythms, and qualities of line. While alluding to Cubism, I deliberately oppose its traditional methodology and approach. Instead of exploring figurative motifs, as the Cubists did, I focused solely on the cube itself.

Diptych / black ballpoint pen and black marker / 120 × 80 cm each / 2009

Experimental video / 5 min / 2009

Is play always innocent? The work subtly questions the boundary between childhood play and the ideas, values, and roles that may already be taking shape within it.

Single-channel video installation / 13 min / loop / 2022

Indestructible (2022) is a meditative video installation in which the flamingo flower becomes a symbol of love, solidarity, and resilience. Soap bubbles repeatedly fall onto its surface and disperse, while a mirror reflects both the flower and the fragile disturbances surrounding it.

Created specifically for the 85th ULUS (The Association of Fine Artists of Serbia) Autumn Exhibition, dedicated to the theme of the flamingo flower and inspired by Cvijeta Zuzorić’s legacy of artistic solidarity and collective action, the work reflects on the persistence of love and solidarity in the face of external pressures. Presented as a loop, the work suggests an ongoing, almost ritualistic process in which harmony is continually challenged yet preserved.

Single-channel video installation / 6 min / loop / silent / 2024

As early as 1935, Walter Benjamin observed that the “realism” of cinematic representation, in which “no part of the apparatus” is visible, is produced precisely through the apparatus’s “most intensive penetration into reality.” In other words, the cinematic illusion depends upon the erasure of every trace of its own construction — first and foremost, the apparatus itself, but also the film crew, the studio, the script, and the entire technological and material infrastructure behind the image.

Omnipotence of the Gaze examines and demystifies the camera as a supposedly “bodiless, intangible” entity by explicitly revealing the self-reflection of the “apparatus eye” on the surface of a mirror. The work turns the camera back toward itself, exposing the technological apparatus that normally disappears behind the seamless illusion of cinematic representation.

Experimental short film / 17 min / 2013

Stitching confronts video recordings from my childhood made by my father in the early 1990s, establishing an active relationship with these images rather than treating them simply as a family archive. After finding the original VHS-C camera my father used to record them, I began filming with it again, alongside my own MiniDV camera.

The final video interweaves the original VHS-C recordings from the 1990s with contemporary re-recordings of the same footage made with both the VHS-C and MiniDV cameras. These are further combined with contemporary footage recorded and re-recorded through both formats, creating a layered process in which images pass between different generations of recording technology.

On a technological level, these transfers and repetitions stitch together different mental and temporal planes of past and present, forming an intimate collage of memory and my present relationship to it. The moving figures and the special attachment for making pleats on a sewing machine were personally constructed by my father in the 1990s.