Bird, 2025
At 4 a.m., between night and morning, a bird’s song cuts through the stillness of the city. For a moment, everything pauses. The body listens.Amid concrete and routine, something persists. A quiet presence that waits to be heard, reminding us that nature does not disappear but continues to reach us, even here, even now.
French Saga, 2025
This work brings together fragments that resist settling into a single meaning. Scenes from Belle de Jour, gestures from Bat Serpentine Dance, and ruptures of color from Pierrot le Fou drift through an obscure sonic landscape.Freed from their original contexts, the images no longer follow a fixed narrative. Instead, they invite the mind to wander, to form and reform connections in real time. Each sequence remains open, suggestive rather than defined.The piece unfolds as an exercise in perception, where emotion, memory, and intuition quietly generate new stories.
CREDITS & REFERENCES
Music by Serin Jemaa
Belle du Jour , 1967
Bat serpentine dancer, 1897
Pierrot le Fou, 1965
CREDITS & REFERENCES
Music by Serin Jemaa
Belle du Jour , 1967
Bat serpentine dancer, 1897
Pierrot le Fou, 1965
Heat, 2025
Summer returns as a space for quiet experimentation, each year carrying a different texture. It holds both nostalgia and the uncertainty of the present.
To sit in the sun is no longer the same. Something has shifted, subtly altering how the moment is felt.
This work lingers in that change, in the unfamiliarity of what once felt simple, and in the quiet hesitation of not fully knowing how to receive it.
To sit in the sun is no longer the same. Something has shifted, subtly altering how the moment is felt.
This work lingers in that change, in the unfamiliarity of what once felt simple, and in the quiet hesitation of not fully knowing how to receive it.
I wish I knew what lies ahead, 2025
This work emerges from an ongoing collection of fragmented thoughts, holding a brief reflection written in 2022, a moment captured before it fully takes shape. The hand-drawn animation explores abstraction as a space where emotion precedes narrative. Forms shift and dissolve, allowing feeling to surface without explanation. Influenced by Nobuhiro Aihara’s S=13, the piece moves through instability and intuition, tracing the inner movement of thought.
Illusory pause in the timeline, 2025
This work explores perception through the interaction of words and moving images, where fragments of language and fleeting visuals shift meaning and emotion. Carrying a calm, luminous energy, it echoes the spirit of John Baldessari’s Goya Series, embracing chance and the interplay between text and image. It offers a quiet invitation to pause and sense the connections between word, motion, and thought.
Melancholia, 2025
Thoughts from the 28th of August 2025 unfold as a fragmented sequence of images and words, tracing moments from different places and times that resurface without warning. Keywords appear like entries in an unfinished archive. Reassurance. Photoshop crashed. Family affairs. Wedding thoughts. Each remains suspended between documentation and emotion. At the center, a body moves in repetition, gestures returning before continuing, as if time hesitates. The work lingers in a melancholic space where memory is not resolved, only recorded, repeated, and felt.
Memory tape from 21.02.2025
Days arrive with clarity and evenings fold into weight, leaving a quiet space in between that resists explanation or control. This work approaches emptiness as a form of being, a silence that simply exists, neither full nor absent, but part of the continuous flow of time. Fullness and void coexist without hierarchy. The piece observes their rhythm without judgment, where experience unfolds, ungraspable and transient. Everything persists. Everything continues. In that persistence lies its own quiet meaning.
REFERENCES
Anemoia, Cuibul Artiștilor
personal archive
Six Boxes by John Wood and Paul Harrison
In the Mood for Love (2000)
Wong Kar-wai 1833 “McLean’s Optical Illusions
Magic Panorama” Saul Steinberg Masks
REFERENCES
Anemoia, Cuibul Artiștilor
personal archive
Six Boxes by John Wood and Paul Harrison
In the Mood for Love (2000)
Wong Kar-wai 1833 “McLean’s Optical Illusions
Magic Panorama” Saul Steinberg Masks
Memory tape from 28.02.2025
It captures a fleeting memory of sunlight, a brief moment of clarity and warmth in the vastness of experience. Through a simple VoiceOver, the video reflects on the quiet, almost miraculous presence of the sun and the subtle joy it brings to the body and mind.
In the great scheme of things, it is a small observation, yet it lingers as a reminder of being alive. The work traces the intersection of memory, presence, and light, inviting reflection on the fleeting, ephemeral moments that quietly anchor us in existence.
REFERENCES
The dreamers, 2003
In the great scheme of things, it is a small observation, yet it lingers as a reminder of being alive. The work traces the intersection of memory, presence, and light, inviting reflection on the fleeting, ephemeral moments that quietly anchor us in existence.
REFERENCES
The dreamers, 2003
Naturally in between, 2025
The video explores a state of being that lingers between extremes, neither transition nor arrival, but a quiet presence within everyday ambiguity.It reflects on the normalcy of inhabiting the grey area, where movement shifts between light and shadow, always returning to the middle. In contrast to a culture that promotes balance as a goal, this in-betweenness remains unresolved and lived.Balance is approached not as achievement, but as acceptance, a quiet curiosity of moving through uncertainty.
Planète sauvage, 2025
This work creates an atmospheric space around the tension between desire and alienation, evoking the quiet drift toward distraction.Through fleeting images and sound, it traces the fragility of meaning as rituals lose their resonance, leaving only fragments beneath habitual behavior. It unfolds as a reflection in form and feeling, where depth, repetition, and emptiness coexist without explanation.
Time Opens up, 2025
Summer unfolds as a quiet suspension, where time loosens and the rhythm of life softens. The body registers its passing through warmth, light, and the slow shift of days. A subtle passage appears, drawing attention toward the elemental. Light, air, touch, presence. The ordinary regains its intensity, and simplicity becomes a form of return. The work reflects on summer as a threshold, a moment that dissolves structure and reconnects to a more immediate experience of existence.
TV Brain, 2025
The piece examines the influence of screens on perception, presence, and identity. Drawing from references such as Le Testament d’Orphée, Nam June Paik’s work, Pierrot le Fou, La Jetée, The Truman Show, and In the Mood for Love, it forms a meditation on alienation and virtual existence. Fragmented imagery evokes the disorientation of living through screens, where experience becomes filtered and repeated. The VoiceOver reflects on the gradual digitalization of perception and selfhood.The work remains atmospheric rather than narrative, dwelling in the tension between presence and virtuality.
CREDITS & REFERENCES
Music by Serin Jemaa
Le Testament d’Orphée,1960
Nam June Paik, video (I’ll check the year)
Pierrot le Fou, 1965
La Jetée, 1962
The Truman Show, 1998
In the mood for love, 2000
CREDITS & REFERENCES
Music by Serin Jemaa
Le Testament d’Orphée,1960
Nam June Paik, video (I’ll check the year)
Pierrot le Fou, 1965
La Jetée, 1962
The Truman Show, 1998
In the mood for love, 2000
GENIUS LOCI, 2025
Genius Loci is a video work built from the artist’s personal archive, reflecting on the relationship between place and presence. The piece moves through fragments of the city and small, repeated gestures that form unconscious rituals. A woman feeding pigeons, a child in the light, a tram setting the city in motion. Together, they gather into an invisible memory that shapes the spirit of the place. It suggests that space does not forget, holding traces of attention and absence alike, and invites a renewed awareness of the silent organism that carries our steps.
UNTITLED, 2025
This piece represents an exploration through juxtaposition. It is the final product of a creative process that follows the surrealist automatism technique. Conventional creative processes and outcomes were challenged in order to unravel new ways of creating a story.