In 1991, a bike accident left me with a broken arm, sparking an early fascination with the body's limits and how technology mediates recovery and performance. While recovering, I spent hours playing Sega games, my first experience of navigating digital worlds through simulated movement and control. This encounter with early video games deepened my curiosity about how virtual space could train perception and rewire the body. Later, as a Division I tennis player at Coastal Carolina, I became immersed in the pursuit of accuracy - learning how athletic training and technological tools could refine both body and mind. This collision of sport, endurance, and machine became the foundation of my art. Today I approach each artwork as a kind of training: an exploration of how technology rewires perception, reshapes the body, and reconfigures our relationship to nature and the social world.

I am an interdisciplinary artist working across photography, video, collage, sculpture, and installation, driven by a 'docu-fiction' approach. My work explores the intersections of physical and virtual realities. I take historical subjects or familiar places and alter them to produce speculative narratives. Landscapes become surreal dystopias; human bodies merge with software; everyday objects take on agency. Early series like Utopics (2004 - 2007) introduced a corporation that offered to transform humans into animals, speculating on how bodies might evolve under technological and environmental pressures. Sahara Sahara (2009) followed a group of vigilante women confronting the oil and gas industry. Bridge Kids (2010) embeds a fictional psychic character within 20th-century history, using film, CGI, and photography to question how technology and intuition blur the boundary between fiction and truth.

Athletic endurance resurfaces in The Tie Break (2011), a rigorous re-enactment of the legendary fourth-set tie-break from Björn Borg and John McEnroe's 1980 Wimbledon final. Co-created with Tibi Tibi Neuspiel, it merged sport, performance art, and historical ritual, foregrounding the labour behind both athletics and art. White Condo (2015) followed, shifting to speculative architecture: a photographic and video collage examining surveillance, lifestyle branding, and the pressure to construct identity through consumer space. Four Winds (2017) introduced multichannel video sculptures imagining futurist medicine and meditation coaches. Sarah's Garden (2019) integrated screens into architectural forms to create an artificial butterfly conservatory.

Xam (2019) is a sci-fi exploration of surveillance, body hacking, and transhumanism, drawing on my grandfather's 1905 escape from the Russian Empire. Performing as the main subject and shooting the work myself, I blur autobiography with constructed narrative through an intimate first-person perspective, video collage, match moving, and lo-fi VFX. The work became a pivotal bridge in my practice, where mixed reality, CGI, and embodied camera performance converged into a new hybrid mode.

Weather Room (2020) envisions a post-human landscape where surveillance systems and weather stations persist beyond humanity's disappearance. Using digital erasure, video collage, and sculptural assemblage, the work presents silent apocalyptic scenes that merge ecological data with technological infrastructure. The exhibition's 'hyper-sublime' atmosphere imagines a future where machines and nature coexist, outliving human presence and transforming data into a form of ghostly remembrance. E-Sphere (2023) visualizes speculative ecosystems inside spherical forms, using 3D modeling and animation to reflect on how technological systems shape our understanding of environmental change. The work considers the scale and complexity of hyperobjects such as climate change and plastic waste, rendering them as sculptural simulations in which ecosystems transform, move, and develop new forms of symbiosis.

Malware (2023-2025) exists as both a 4K video and a VR 360 version. Sherway Gardens Shopping Centre in Toronto, Canada, is meticulously reconstructed in virtual space. Once-bankrupt retailers and vanished brands haunt its endless corridors, lingering as spectral remnants of late capitalism. The simulation drifts through a decaying architecture of memory and desire, where brand loyalty unravels, signage mutates, and consumer culture loops in an eternal, hollow afterlife.

Dark Crystal (2024) translates these investigations into sculpture, using LED panels, metal, and visible wiring within a custom crystal-like frame. The work creates an anti-immersive encounter where the screen becomes a physical object and the mechanics of display remain exposed.

My recent work, the Webtology series, continues this trajectory while extending my interest in anti-immersive forms. The prismatic collages operate as intimate techno-paintings, formed from fragments of science fiction, printed histories, virtual worlds, and altered textures that are reconstructed into dense new compositions. From a distance, the prism film from LCD screens reflects like a sealed metallic surface, suggesting that nothing exists beyond it. As viewers move closer and shift their position, different layers emerge and recede across the surface, making the image contingent on the viewer's movement. The accompanying video sculptures, including Black Hole, extend this anti-immersive approach into physical space. Exposed LED screens, wiring, cables, power bars, and support structures become part of the image system rather than hidden supports. The work keeps the machinery of display visible, creating an encounter where the viewer remains aware of the object, the technology, and their own movement around it.

Across these works, I examine how technological systems reorganize perception, memory, the body, and the environments we inhabit. Technology operates in my practice not simply as a tool, but as a material, an architecture, and a system through which reality is increasingly constructed. Whether restaging a historical event, reconstructing a vanished shopping mall, or building an artificial ecosystem, I create situations where physical and virtual realities remain unstable, asking how our bodies and environments adapt as the distinction between them becomes increasingly difficult to locate.