2008
Mariah Carey. Touch My Body. Formalism.
In 2008, I created the video work Mariah Carey. Touch My Body. Formalism in collaboration with Oliver Laric. The piece reworks the original music video through 36 layers of chroma key footage, transforming a pop-cultural artifact into a study of form, repetition, and digital manipulation.
By isolating the performer’s figure and removing contextual elements, the work operates as an exploration of image construction and circulation in digital environments. It engages with processes of fragmentation, re-editing, and collective authorship, reflecting on how media can be continuously reinterpreted and redistributed.
By isolating the performer’s figure and removing contextual elements, the work operates as an exploration of image construction and circulation in digital environments. It engages with processes of fragmentation, re-editing, and collective authorship, reflecting on how media can be continuously reinterpreted and redistributed.
Mariah Carey
Touch My Body (Green Screen Version) 2008
2014
Wave 11
7-inch single release on the steel drill.
Rediscovering the history of the monument Museum of Worker and Kolkhoz Woman. Commissioned work.
Rediscovering the history of the monument Museum of Worker and Kolkhoz Woman. Commissioned work.
This project emerged from research into the history of the Worker and Kolkhoz Woman monument and the industrial technologies behind its production.
While studying welding and metalwork, I began experimenting with recording and analyzing the sound of welding processes. Through this exploration, I became interested in the relationship between industrial production, rhythm, and sound.
In collaboration with musician Buttechno (Pavel Milyakov), I identified parallels between recorded welding audio and the waveform structure of his track Wave 11.
This led to a joint release, where I took on the role of initiator and publisher, bridging artistic research, sound, and material history.
Tune: https://soundcloud.com/buttechno/wave-11
More about the artist: http://www.juno.co.uk/products/pavel-buttechno-milyakov-buttechno-sport-soundtrack/588897-01/
While studying welding and metalwork, I began experimenting with recording and analyzing the sound of welding processes. Through this exploration, I became interested in the relationship between industrial production, rhythm, and sound.
In collaboration with musician Buttechno (Pavel Milyakov), I identified parallels between recorded welding audio and the waveform structure of his track Wave 11.
This led to a joint release, where I took on the role of initiator and publisher, bridging artistic research, sound, and material history.
Tune: https://soundcloud.com/buttechno/wave-11
More about the artist: http://www.juno.co.uk/products/pavel-buttechno-milyakov-buttechno-sport-soundtrack/588897-01/
Buttechno
2017
Pixel as an Ultimate Black Square
Permanent collection, MUMOK, Vienna
This work reflects a long-term investigation into image, display, and materiality.
Developed during my studies with Heimo Zobernig, it engages with the legacy of modernist abstraction and institutional critique.
The piece reduces the image to its minimal unit — a single pixel — positioning it within spatial and conceptual frameworks.
Presented within the context of a dollhouse installation, the work operates at the intersection of scale, perception, and meaning.
It references Kazimir Malevich’s Black Square while translating its logic into a digital and contemporary context.
The project is part of an ongoing exploration of the relationship between image, object, and exhibition space, informed by experiments with photography, print, and sculptural processes.
Developed during my studies with Heimo Zobernig, it engages with the legacy of modernist abstraction and institutional critique.
The piece reduces the image to its minimal unit — a single pixel — positioning it within spatial and conceptual frameworks.
Presented within the context of a dollhouse installation, the work operates at the intersection of scale, perception, and meaning.
It references Kazimir Malevich’s Black Square while translating its logic into a digital and contemporary context.
The project is part of an ongoing exploration of the relationship between image, object, and exhibition space, informed by experiments with photography, print, and sculptural processes.
Dollhouse of a Poem:
poster
2016
Untitled
Carbon fibre 3d print.
Research based work, part of Super-Structure exhibition invited by
Heimo Zobernig at The Austrian Sculpture Park.
Premstätten, Austria
The project is based on data collected over a ten-year period within an academic context. The dataset was translated into sculptural form through digital modeling and fabrication, exploring how abstract systems and classifications can be visualized spatially.
Research based work, part of Super-Structure exhibition invited by
Heimo Zobernig at The Austrian Sculpture Park.
Premstätten, Austria
The project is based on data collected over a ten-year period within an academic context. The dataset was translated into sculptural form through digital modeling and fabrication, exploring how abstract systems and classifications can be visualized spatially.
2016
Shifting Expectations
This exhibition presented a series of photographic works developed across different locations and contexts.
The installation brought together urban and rural imagery, reflecting on the conditions of contemporary life shaped by mobility, technology, and shifting environments.
Through a combination of observational and staged imagery, the works explore perception, identity, and the material qualities of photography — from image capture to print.
P Gallery, Moscow
The installation brought together urban and rural imagery, reflecting on the conditions of contemporary life shaped by mobility, technology, and shifting environments.
Through a combination of observational and staged imagery, the works explore perception, identity, and the material qualities of photography — from image capture to print.
P Gallery, Moscow
