This series originates from pencil drawings that were later translated into digital vector forms. The vectors served as compositional templates for a group of one-off prints created using a combination of printmaking techniques. Some prints were subsequently developed with watercolor, introducing subtle tonal variations and atmospheric washes. While the motifs share a common visual language, each print remains unique, reflecting a dialogue between digital precision and the material unpredictability of manual printmaking.

The imagery draws on the concept of psychopomps—beings that guide the souls of the deceased into the afterlife. Across different mythological and religious traditions, these figures appear as angels, demons, spirits, or hybrid creatures combining human and animal features, often with bird-like qualities that suggest movement between worlds. In this reinterpretation, the psychopomp appears as an ambiguous, shifting figure suspended between anthropomorphic and organic forms.

This work draws particularly on the imagery associated with the Slavic pagan goddess Morana, connected with winter, death, and the cyclical decay of nature. Her name derives from the Czech word mor (“plague”), evoking both the destructive and purifying aspects of mortality within natural cycles. The creatures inhabit a threshold space between life and dissolution, functioning as intermediaries between life and death, body and spirit, permanence and mortality.

Inspired by the hypnotizing and monotonous lockstep walk of workers in Fritz Lang's 1927 film Metropolis. In the film, long columns of laborers move through vast industrial corridors with mechanical precision, their bodies synchronized into a slow, ritualized procession that resembles the motion of a single organism rather than that of many individuals. Heads lowered and shoulders heavy, the workers advance in rigid cadence, their footsteps merging into a steady, almost metronomic rhythm. The choreography of this movement—deliberately repetitive and stripped of personal variation—transforms human motion into something closer to machinery, where the collective body appears programmed by the tempo of the factory itself. By isolating and extending the gesture of the workers’ march, the work reflects on the persistence of industrial logic within contemporary technological systems. What once belonged to the architecture of the factory floor now reappears in new forms—algorithmic schedules, automated processes, and digital infrastructures that quietly regulate the pace of everyday life.

RIGHT NOW, THEY ARE MAKING YOUR CLONE SOMEWHERE TO REPLACE YOU. This matrix print reflects on one of the most consequential scientific breakthroughs of the late twentieth century: the successful cloning of a mammal from an adult cell. In 1996, the sheep Dolly was born, marking a pivotal moment in biotechnology and opening new possibilities for genetic replication. The work takes this historical milestone as its conceptual starting point and speculates on the trajectory such research might follow. Nearly three decades later, the once unimaginable idea of cloning no longer belongs solely to speculative fiction, prompting unsettling questions about identity, individuality, and the potential consequences of replicating human life.

The print imagines a scenario in which cloning technology has advanced beyond experimental laboratories and entered a far more ambiguous territory: the quiet replacement of individuals by their own biological duplicates. The title itself reads as both a warning and a darkly humorous statement, suggesting an invisible process unfolding somewhere beyond immediate perception. It evokes a sense of paranoia rooted in the possibility that identity—traditionally understood as singular and unrepeatable—could become reproducible, transferable, and ultimately disposable.

This speculation draws subtle inspiration from Invasion of the Body Snatchers, in which humans are secretly replaced by alien replicas indistinguishable from their originals. While the film frames this transformation as an extraterrestrial threat, the artwork reimagines the premise through the lens of contemporary biotechnology. The anxiety no longer originates from an external invasion but from human technological ambition itself. In this sense, the work explores the uneasy intersection of scientific progress and existential uncertainty, where the promise of innovation carries the shadow of a future in which the boundaries of selfhood and authenticity become increasingly unstable.

An ongoing series of mixed media prints that explore beauty of everyday objects filtered through low-fi technology output (matrix print). The objects are completed with emhasizing words and slogans that respond to visual techniques in advertising. Inspired by pop art of Ed Ruscha, which elevates words and phrases to visual poetry.

A series of one-off mixed media prints that continue to explore the theme of Auri Sacra Fames (unfortunate hunger for gold) in other techniques.

A series of limited edition prints loosely based on Franz Mehring's comment on Charles Dickens - the social critic who in his literary works exposed the destitution of the poorest English classes and yet in the last years of his life supposedly suffered from auri sacra fames - the unfortunate hunger for gold.