Research Catalogue

In this research, I interrogate my practice as a performance photographer and explore how the digital space can be used as a tool to reflect on the unspeakable gazes and the notion of intimacy in an age where everyone can be seen and shown. The nature of the technologies used are as telling as we let them be but also pervasive in how they allow us to look into each other.

A new filigrane sound object (or series of objects) in the making, w.i.p.

The Body I Post examines how social media, algorithmic systems, and digital surveillance reshape contemporary understandings and performances of the body. Against the backdrop of theoretical frames leading from Foucault to N. Katherine Hayles, the project at hand scrutinizes the dynamics of shifting gazes, erosion of privacy, and the emergence of the posthuman subject. The work identifies the means by which identities are extracted, categorized, and refashioned through platform infrastructures and biased datasets, by investigating case studies such as Face to Facebook, Amalia Ulman’s Excellences & Perfections, and Trevor Paglen’s ImageNet Roulette. The research combines social experiments, visual references, and personal reflection to explore how bodies are curated for visibility, disciplined by metrics, and archived in ever-expanding digital memory systems. It questions the tension between material embodiment and its algorithmically mediated double and the ways in which humans have become simultaneously users, subjects, and raw data. The Body I Post is about what it means for us to exist as hybrids of flesh and code in an era where self-presentation has become continuous, performative, and inseparable from technological systems.

The zoo is not a neutral site of animal display but a meticulously curated mise en scène where scenography dictates perception. This exposition reframes the zoological garden as a dispositif of control, foregrounding fabricated rock formations, artificial lighting, and concealed barriers as theatrical devices. Through square format photographic series that exclude animals, the work exposes the zoo’s fragmented geographies as staged spectacles designed for human imagination rather than ecological integrity. The project interrogates authorship, agency, and representation, inviting viewers to reconsider the zoo as a cultural theatre of estrangement and illusion.

Touring occupies a unique and often underexplored role in the careers of electroacoustic musicians, where the intersection of artistic, technical, and logistical challenges becomes especially pronounced. This article examines the practical realities of touring within the context of multichannel electroacoustic music, using Electric Audio Unit’s (EAU) performance in Tallinn as a case study. The article highlights the challenges of preparing for and executing a multichannel concert in an unfamiliar venue, including issues of spatialization, equipment compatibility, and time constraints. Additionally, it reflects on the broader demands placed on electroacoustic musicians, who must often juggle multiple roles to ensure the success of their performances.

This exposition examines the intersection of drawing, installation, and handmade objects informed by popular culture, spectacle, and visual symbolism. Central to the practice is the duality between physical materiality and virtual environments, a framework through which fictional realities are constructed and analyzed—often reflecting states of exhaustion, overload, and alienation characteristic of hyperactive contemporary culture. The use of low-budget materials and do-it-yourself methods introduces a deliberate tension between meticulous craftsmanship and intentional “amateurism,” while simultaneously subverting the capitalist logics of mass culture through the reuse and recontextualization of its visual language. Connecting introspective and social dimensions, the exposition offers not only an aesthetic experience but also a critical lens on everyday consumer routines, media-shaped reality, and processes of personal self-reflection.