Transformation with Technology

    Digital techniques make it possible to explore concepts that are not yet physically feasible. In 3D animations and virtual models, forms, processes, and movements emerge as experiments and sometimes as blueprints for future artworks. Technology here is not an end in itself, but a temporary instrument to render imagination tangible. Whenever circumstances allow, these studies are translated into sculptures or installations. In this way, the digital space becomes a necessary step in the ongoing process of transformation.

    Project Transformations

    Developments and First Forms

    2023 - Pole Dance Curtains

    Pole Dance Curtains is a 3D animation in which five illuminated dance poles, each wrapped in a cultural or religious garment that opens and closes like a curtain, create a rhythmic play on identity, exclusion, and the shifting symbolism of color.

    In this 3D animation, five dance poles are arranged in a circle — poles like those used in sensual or acrobatic performances. Around each pole hangs a striking garment: a short skirt, a priest’s robe with miter, a burqa, a Ku Klux Klan gown with pointed hood, and a primitive-looking robe.

    The lower parts of the garments act as curtains: they hang from rails and move automatically, opening and closing. Each pole is fitted with an RGB fluorescent light that constantly shifts in color. In religious and cultural contexts, colors often carry specific symbolic meanings. Communities develop their own visual codes and rules — but do these codes make a group more accessible to outsiders, or do they create barriers? Do we prefer to spin around our own axis, or dance with the other?

    Within the installation, a continuous interaction unfolds between the poles. They open and close at random moments, each time in a different hue from the RGB spectrum. Because colors can hold vastly different meanings across cultures, every viewer experiences the work through their own personal, religious, and cultural lens.


    2020 - The Weight of Air

    The Weight of Air is a 3D animation in which an inflating inner tube makes the elusive weight of air visible, exploring the fragile boundary between lightness and gravity.

    In this 3D animation, a small inner tube rests on a scale. It is slowly inflated with ordinary air, while the scale gradually indicates more and more weight.

    Everyone knows that air does not actually weigh what the scale suggests. Precisely for that reason, the work gains a metaphorical dimension: the tension between lightness and gravity. It moves beyond the joke and raises questions. How much weight does one truly place on a scale that consists mostly of “air”? And what does that say about the blowhard — the person full of hot air?

    The associations are numerous. Air in which a virus circulates, and the face mask that made us literally feel the need for breath. The pressure on society. Global warming, with heatwaves and wildfires that leave us gasping for air. And ultimately, the human footprint itself.

    With technical support, this work could later be realized as a physical installation in a real environment.


    2020 - The Serpent’s Staircase

    The Serpent’s Staircase is an animation in which the snake beside Wall Street’s Charging Bull transforms into a seductive maker of stairs, luring us toward the heavens — an ironic symbol of greed and the illusion of boundless wealth.

    Next to the famous Charging Bull in New York lies a bronze serpent. The aggressively posed bull, created by Italian sculptor Arturo Di Modica, was intended as an allegory of stock market optimism and has become the ultimate symbol of Wall Street and the financial district. Although the artist originally meant the work as a critique of Wall Street’s boundless greed, its meaning remains ambiguous — unlike that of the serpent, which throughout history has consistently symbolized evil, temptation, or even the devil himself.

    In this animation, however, the serpent becomes a “stair-maker.” It tempts us to climb the steps toward heaven. The sky is the limit: wealth — preferably in abundance.


    2019 - The Serpent of Laocoön

    The Serpent of Laocoön reinterprets the classical sculpture with an inflatable rubber snake that gives the act of strangulation a contemporary, physical tension.

    In one of the most famous sculptural groups from ancient Greek art, Laocoön and his sons are strangled by two serpents.

    In my exploration of shape transformation through pneumatic techniques, the serpent appeared to be a suitable and adaptable element. In this 3D animation, the marble serpent is replaced by a rubber, inflatable version. This not only alters the form but also intensifies the sense of suffocation.


    2019 - Umbrella

    Umbrella is an artwork in which automatically moving umbrellas open and close in slow rhythms, creating a continuously shifting, breathing form.

    Umbrella is a 3D animation that visualizes the idea for a future installation. The umbrella is a simple yet powerful example of a transformable form: from a closed, compact state it unfolds into an open, spherical volume.

    This principle forms the basis of a sculpture in which multiple umbrellas are automatically driven by a linear guiding system. They open and close in slow, varying rhythms. Because the movements are not synchronized, constantly shifting patterns emerge. The overall form of the work changes continuously — like an organism slowly breathing.


    2018 - Unwelcome City

    Unwelcome City is an artwork in which a small town tilts and disappears as soon as someone comes too close, serving as a confronting metaphor for exclusion and the fear of the stranger.

    This work responds directly to the presence of the viewer. On a table stands a small, enclosed city. As long as the viewer keeps their distance, the city remains visible. But as soon as someone enters a certain radius, the houses slowly tilt 180 degrees. They disappear from view – only sand remains. When several visitors stand around the work, the entire city transforms into a barren, inhospitable wasteland.

    Unwelcome City reflects on today’s refugee crisis and the defensive attitude of the West toward the outsider, the foreigner, the visitor. Territorial instinct and nationalism resurface; borders harden, walls grow higher. The work allows the viewer to physically experience what it means to be excluded – to not be welcome.

    The animation is a conceptual visualization of a future installation, in which the physical proximity of the audience causes the city to vanish again and again.