I see my artistic activity as analogous to poaching. I set visual traps and make poetic pranks in public and communal spaces. Through subtle interventions and major obstructions I try to explore the difference between the public and the private. However, I rarely wait to see if anybody falls into my traps, being satisfied with just setting them. The intended act of abandonment allows me to imagine the possible future and past scenarios, temporal presence of objects and people and their ephemeral encounters.
I often develop parasitic relations with found footage. Being hardly interested in truth about my findings, I use them to conduct pseudoscientific experiments instead. I operate in the area of primitive science devoid of knowledge, driven by curiosity, where there is no opposition between basic mechanics and most improbable fiction, as long as they provide a persuasive or interesting explanation.
My work is characterised by changeability of its representation. The narrative could be told through the spatial arrangement of objects in a gallery space, audio pieces, videos or photographs uploaded online with little or no commentary. Sometimes, I tell a story without showing any evidence of the actual performance.
I cheat, occasionally, but only when it makes a good story.