Time based installation with reconstructed observatory gearbox, corn syrup and food dye. The arm moves counter clockwise and together with the liquid supplied in fifteen minute intervals completes one full rotation in about twelve hours. The big black dripping circle is a reference to Saturn, the Sun of Night, and the cycle of life.

From my MFA 2023 Thesis Exhibition titled You Brought Something Into The World That Does Not Belong Here at Robert C. Turner Gallery, Alfred University, NY, USA. The exhibition as a whole navigates absurd scientific possibilities, irrational scenarios, and logical contradictions that characterize contemporary reality—revealing a landscape shaped by ambition, shortsighted progress, and a peculiar absence of empathy. In this context, the sculpture suggests that the true anomaly may not be the cloned organism itself, but the human systems that produce it.

This installation explores an idea from a book titled The Path of Silence by philosopher, pedagogue, mystic, and esotericist Mikhael Aivanhov, which proposes that high mountain altitudes are inhabited by friendly spirits that can communicate deep wisdom if approached in contemplation and silence. But these spirits are being gradually driven out by loud and crude humans that seek cheap thrills of tourism instead.

Rain Machine is a suspended kinetic installation occupying a dimly lit gallery space. The work consists of a modified sash window frame—its outer surface painted dark brown and its interior white—hung from the ceiling by two stainless steel wires. The top of the frame forms a circular arch, giving the otherwise familiar architectural element an unusual, almost symbolic presence. Attached to one corner of the window’s exterior surface is a car windshield wiper, positioned as if it were part of an automobile windshield. In the opposite corner, a small system of corroded copper tubing terminates in a nozzle taken from a windshield washer pump. A white horizontal bar crosses the center of the window frame, supporting a small projector that casts a looping image of low-resolution digital rainfall across the transparent surface.

Behind the installation, partially obscured in the darkness, sit the technical components that animate the system: a car battery and a water reservoir connected through tubing to the pump and nozzle. When the work detects the presence or movement of a viewer, the machine activates. Water is dispensed in measured intervals across the glass surface while the wiper arm begins its repetitive motion, clearing the accumulating droplets from the pane. The water then falls freely to the floor, slowly forming expanding puddles beneath the sculpture. The projected rainfall continues regardless of the mechanical action, creating a layered illusion in which simulated precipitation overlaps with the physical presence of real water and the functional gesture of the wiper attempting to remove it.

Rain Machine inhabits the unstable boundary between simulation and reality, utility and futility. Within this environment the viewer becomes both witness and trigger, activating the system that produces the illusion they are observing. The installation suggests a quiet, melancholic landscape in which humans—gradually receding from the center of technological agency—consume their own form of nepenthe, a forgetting brought on by the approaching waves of automation and algorithmic logic. The machine continues its task with indifferent persistence, maintaining a cycle that neither resolves nor progresses. Technologies once imagined as instruments of connection quietly redraw the distances between people, making them displaced within the very systems meant to serve them. Present, yet somehow out of place in solitude, inhabiting a world that has advanced slightly beyond its maker. An invisible separation, like a visitor wandering through a familiar landscape that no longer fully recognizes its inhabitants.

Exploration of the ambiguity of home as a physical place and home as a state of internal peace, tranquillity and the strive for it. Artwork produced in 2021 during Alfred University MFA degree study in the USA.

A two-part exhibition that ran in Triskel Christchurch, Cork, Ireland over three months between October 11 and December 22, 2018. This site-specific installation explored the mind-set we, as users, hold towards science and technology and its revolutionary potential that allows us to contest the boundaries of our collective existence traditionally demarcated by the external concept of God. This trend, however, also entails some dark aspects of how we relate to ourselves, one another, and our environment. The exhibition was produced with support or funding from Triskel Arts Centre, Valerie Gleeson Development Bursary, National Sculpture Factory, Cork City Council Arts Office and The Arts Council of Ireland.

Interactive installation incorporating four sculptural stacks that react and start playing upon detection of motion. Each stack produces different note, together creating harmony. The sound is produced by a custom made speaker assembly replacing traditional speaker cone with an embossed print. The sculptural forms in front of the speakers were cast in the Czech Republic from a special aluminium alloy used for parts in aviation, industrial applications but also armed vehicle weaponry systems.