In 1991, a bike accident led to a broken left arm, a pivotal moment in my life. The injury was devastating, preventing me from participating in an upcoming major tennis tournament. During my recovery, I turned to a Sega video game console, which not only occupied my time but also fueled my competitive spirit. My experiences, both in virtual games and in real-world sports, have profoundly shaped my artistic perspective. This blend of realities has become a comfortable space for me, where I've been actively exploring through research and creation.

I perceive myself as a hacker within a game when creating art. I engage in appropriating contexts and transforming meanings, advancing what I term 'docu-fiction aesthetics.' My art investigates the boundaries and tensions between reality and virtuality. Starting with historical subjects or places, I modify, alter, and fictionalize them, ultimately manifesting in digital collage-like photographs and videos. Landscapes transform into surreal dystopias, the human body dissolves into technology, and objects take on qualities of consciousness.

Over the past two decades, my docu-fiction videos and photo collages have delved into the impact of technology on nature and the human body, and the societal implications of artificial intelligence. For example, my 2004 work 'Utopics' presents a corporation offering a program to transform human bodies into animals, echoing Darwinian themes of survival. It marked the beginning of my journey in manipulating reality to create surreal and speculative futures. In 'Sahara Sahara,' (2009) a group of women confront the oil and gas industry, while 'White Condo' (2015) depicts a competition for luxurious living as a shield against a dystopian world. The accompanying photographs present realistic collages that depict complex interplays between nature and technology.

In my 2011 project 'The Tie Break,' I, along with artist Tibi Tibi Neuspiel, undertook a rigorous reenactment of the iconic fourth set tie-break from the 1980 Wimbledon Finals between Björn Borg and John McEnroe. This work not only reflected a commitment to historical accuracy and athletic precision but also served as an exploration of the intersection between physicality and performative art. 'Four Winds' (2017) further explores this theme with multichannel video sculptures that speculate on the future of medicine and meditation, resembling zen-like sterile life coaches. 'Sarah's Garden' (2019) integrates video screen technology with architectural forms, creating immersive multi-screen installations that showcase butterflies in a digital museum.

'Weather Room' (2020) represents a culmination of my two-decade practice, imagining future phantasms in digital collage-like photographs and videos. 'Mantis' (2022) combines realistic CGI with live-action, blurring the lines between nature and artificiality through spatially-synced multi-screen installations. My latest series, 'E-Sphere' (2023), delves into hyperobjects — vast and complex phenomena like climate change, capitalism, black holes, and the accumulation of plastics. Through immersive video and installation experiences, I aim to foster meditation and heightened awareness of these omnipresent natural forces