My practice is based on poetic studies of places, representations, and situations where historical and cultural structures take on visible and material forms. I am interested in researching various methods of building visual languages and understanding how the past is reconstructed in the present and perceived through the evolution of representational practices in the visual arts. I work across multiple disciplines — sculpture, video, installation, painting, works on paper, and new media — but my projects share the same research-based approach. I see my work as an analytical system for observing the development of form as it undergoes semantic, material, and historical transformations. I am interested in exploring notions of visual systems, technology, and their influence on contemporary artistic practices. Continual research themes include archives, semiotics, displacement, landscape, architectural narratives, technology, and modernist imaginaries.
In developing a trilogy on post-Soviet geographies, which was presented at the 54th Venice Biennial, as well as Blaffer Art Museum (Houston, Texas) and Southern Alberta Art Gallery (Canada), I embarked on a three-part journey, commencing in the American Northwest (Astoria, Oregon), continuing to St. Petersburg and then to the Aral Sea in Central Asia as well as Eastern European Constructivist and Brutalist architectural sites. My recent fellowship at Schaufler Lab at the Technical University of Dresden (Germany) in 2021 focused on research topics of Artificial Intelligence, technology, and cultural labor in a historical context. Building on this, I pursued the idea of algorithmically calculated transformations, sentiment analysis, and data mining, continuing the tradition of modernist formal experimentation rooted in concrete data. My preoccupation with frontier technologies explores the possibility of new aesthetic experiences as a form of research and poetic construction.