My research trajectory is centred on scenography as a compositional philosophy of space and meaning. Rather than treating scenography as representation, I work with perceptual conditions such as attention, timing, thresholds, rhythm, and the spectator’s position. Over the past years the focus of my practice has shifted from producing individual works to building authored frameworks, where I take responsibility not only for form, but for the conditions through which meaning emerges.
I work with allied systems and genres as tools rather than destinations. Folklore functions as compositional technology, offering structures of separation, crossing, and return that make psychological and ethical tensions legible without direct confession. Horror follows the same logic as a method of staging thresholds through uncertainty, disorientation, delayed recognition, and the pressure of what remains unresolved.
These are not only genre mechanisms, but perceptual realities of transition that I translate into spatial and temporal organisation.
research and workshops on perception, institutions, and visibility
