Liberty Bells

2026

CZ

Academic

Installation

AVU, Klauzury

Dual-channel video installation, Raspberry Pi, 3D print, assemblage, electronics

120 x 90 x 50 cm

Pleasure today permeates everyday life through digital infrastructures; having fun is not supposed to trigger guilt, because the most effective control does not feel like prohibition, but like comfort, offer, and the possibility of choice. The permanent carnival, when the principle of temporary rule-breaking, laughter, and masking spills into ordinary life, promises a freedom that is precisely dosed as sensation and governed by micro-decisions, repetition, and reward. The videos function as dispatches: short fragments assemble situations that cannot be closed by interpretation; in the rhythm of return, time, affect, and attention are dispensed, much like slot machines or pinball without catharsis, where energy circulates but leads to no resolution. The visual material is a relational, non-linear whole: gathering motifs, assembling them into an aggregate, and building a sequence that offers a field of fragments instead of explanation. The sequence is randomized by code behind the scenes; a dual-screen installation runs in parallel in an inertial mode and, when a physical trigger, reminiscent of a pinball launcher or a stimming toy, is activated, briefly switches to a more intensive variant. The work maps power in entertainment: carnival beside mask, pinball beside linear progress, laughter beside punishment, and traces how permitted deviation, through repetition, becomes permanent operation that stabilizes order.

Memory vault

2025

DE

Self-initiated

Installation

Spoiler Zone

plexiglass, clear adhesive print, 3d print, Raspberry&LCD display

105x116x10 cm

Part of the group show 'VOGELSCHLAG' at Spoiler Zone Berlin The scene operates as a map of forgetting; repeated processing, consistent form, eroded reference. Surfaces bear traces of prior use, converted and transcribed until they resemble nothing but endurance; even when the content withdraws. Seen through the window, memory appears here as a state of maintenance rather than remembrance. A directionless view: empty, mold-stained walls, imprints of prior use; reads as archival surface: scanned, converted, transcribed; presence reduced to idleness; a memory shadow. The work operates between the eerie and the vectoral. The eerie describes absence that continues to act, a presence detached from its origin. The vectoral defines ownership of information and the invisible control over access. Their intersection outlines a form of memory detached from consciousness; traces remain active, detached from emotion or narrative, functioning as automated continuities of what no longer requires meaning. Memory Vault observes this condition not as a dystopia but as a common state. The surface of the digital archive mirrors the surface of the wall, both store traces, both degrade. Within digital systems, the past endures through circulation, not remembrance. The view through the window exposes memory’s architecture: stable yet eroding, persistent yet emptied of meaning; the condition of memory itself: suspended between visibility and loss. Each layer, scan, file, pixel~ stabilises the trace while dissolving its context; data persists, meaning recedes.

Coordinates Shift With Every Contact

2026

CZ

Academic

Installation

AVU, Klauzury

3D tisk / emerald green filament, plexisklo, Raspberry Pi 3, Arduino Nano a Display TFC

800×470mm

Choosing not to throw is not chance, but a choice the system did not anticipate. Applying Greimas’s semiotic square to the target reveals the tension between Choice and Non-choice, Autonomy and Control; instead of a throw, I choose to interrupt the sequence, a gesture the preset system cannot predict. The target materializes the difference between what would normally happen in a throw and what happens here: rather than passively accepting the outcome, we examine the structure of the system and the conditions under which apparent choice within the rules becomes an illusion of independent decision-making. The object exists in a post-ludic state; after its own collapse, as a fossil of the present. The frustration of being unable to hit the center is not a side effect, but a tool for understanding the logic of preset systems: every contact becomes archaeological evidence of how technology captures human temporality and converts social rituals into data production. The dismantled target of plexiglass, 3D printing, and non-functional electronic components oscillates between rematerialization and epistemization... between tangible presence and an analytical instrument that exposes the hidden illusion of meritocracy, which convinces players that the outcome depends on skill, while algorithms and predictive systems determine it before the dice ever leave the hand.

Habituation & Time capsule

2023, 2011

DE

Self-initiated

Installation

Eight G former Eight Gallery

digital print on aluminum, and etching on aluminum plate in combination with aquatint

90x110 cm

Part of the group show 'On your hands'. Exploring notions of time through nature and scenic photographs from personal archive, spanning from 2005 to recently. ~Seeking to understand the concept of time perception in relation to memory and the definition of an image. Images processed using processing java code. Habituation: Archiving unconscious thoughts, indicators of life. I explore the notion of memory over time as both a faithful companion and traitor. The print is created using pure java processor code, symbolizing the documentation of life’s organic imperfections and mistakes. As time unfolds differently throughout life, I have always been fascinated with capturing moments of emptiness and stillness. Reflecting on my own childhood memories, I recall favorite places where time seemed extended and filled with contemplation. I want to question the shifts and changes of perception of time. Time capsule: This work was created at the time when the earth seemed to be spinning faster. An etching using the aquatint technique that I created in 2017 is a symbol of the passage of time, mortality and a reminder that not only objects can decay.

What burns, lasts

2025

DE

Self-initiated

Installation

Frappant Galerie

Alu-dibond print and lenticularhttp://www.frappant.org/galerie/ print puzzle

90 x 110 cm

Part of the group show ‘When air becomes dust’ Frappant Galerie *Decay as a selective memory process; on the topics of Alzheimer, as memory is not an archive; the emergence of false memories and whether memory loss equals identity loss. Sculpture by Leonie von Saldern ‘echo im westflügel’ Show with Clara Lilian Berger, Esther Heltschl, Ester Gasparova

From sunset to sunrise, everyday

2023

DE

Self-initiated

Installation

Eight G former Eight Gallery

Lenticular print

6 x A5

Part of the group show 'On your hands'. My favorite time of the day is either sunrise or sunset. In this work I explore the monotonous passage of time and its significance. Attempting to capture moments when everything reflects itself. At the center of this exploration is a solitary tree, symbolising strength and resilience in the midst of an ever-changing world. images processed using processing pure java code

Wild Law

2021

NL

Academic

Installation

Clay with sawdust, wood, barbed wire

110 x 85 x 67 cm

Part of the Graduation Show 2021, KABK A clay sculpture of a court stand placed near the International Court of Justice in The Hague to protest for equal rights for animals. Understanding trans-species communication as a priori condition for solving this issue, the project advocates for recognising non-human rights as a necessary step towards ecological regeneration. Thus, enabling an equal multi-species coexistence so that everyone can experience the environment autonomously.