Cultural shifts revealed through the dynamic forms of mechanisms: the image of the automated subject exists between the living and the dead. The machine is a universal synonym for the infinite reproducibility of self-representation. The cultural main thoroughfare reproduces viable mechanisms, allowing them to move; its vector is determined by their dynamics and their endless reassembly.

Popular modernist fetishes are outlined through their processual states—their movement toward potential, toward discovering critical points, and toward resolving instability.

The exhibition is built upon a contemplation of cultural shifts, revealed through the dynamic forms of mechanisms. For me, the crucial idea is the perception of familiar images in consciousness and their reassembly—a narrative that can be constructed through materials and reflection on the states of catastrophe and post-catastrophe at the moment of their occurrence and movement.

The exhibition project views culture as a complex whole, comprising strata of varying rates of development, and appeals to its synchronous slices—slices that allow for the simultaneous presence of its different stages and capture them in spatial reassemblages.

PIT-STOP, 2026This series of photographs was created while documenting a street art piece of the same name: a derelict car, which had already become part of the urban landscape, was treated with reflective paint, designating it as an observation zone and highlighting it as a standalone installation.

The exhibition version also featured metal panels sized to the photographs, which were covered with the same light-reflecting paint.

PIT-STOP. MOVE, 2026

Abandoned and ruined structures—natural objects of environmental museification that serve no utilitarian purpose—naturally present themselves as sculptural forms within the urban landscape. A flash on a reflective surface represents the observer’s directed gaze.

SPACER, 2026Handrails in everyday environments function as vectors. This is an automated system, a social construct that compels movement at a prescribed pace and in a strictly defined direction. Utilizing handrails as an artistic medium allows one to recontextualize what is usually inherently directive.
In this variation, the work presents a plastic discourse on dynamics and mechanics, revealed through the formal use of the material and the unification of multiple planes into a singular system.