Second hand connections, 2022, video installation/diptych, 2x 2:23 min

The animation process is controlled and detailed. By connecting and combining different fragments of this process, I want to draw attention to them. I'm usually the only one seeing these fragments while creating them, later they are lost in the bigger picture. By displacing them, new things are created.

The constant movement and rhythm carry everything forward. Details are unimportant, it is the feeling that is good, as long as the energy flows and transforms. But the positive charge is reversible, I cannot count on it. Thoughts mix in with the creation process, loops now carry a negative sign and I go around in circles while negotiating with myself like a worn-out tape.

In this set of two similar, yet different videos I play with the elements and constant repetitions and patterns, which carry a different meaning out of their original context. The result is there, even though it is not always in the way I would like it to be.

Sailing, 2019, video installation, 1:28 min

Link: https://vimeo.com/374757338

Originally conceived as a visualization of Božidar Trkulja's poetry, the video, through a combination of sound and image, functions as a standalone work. It places a strong emphasis on rhythmic interplay with particles and various foci that highlight the impression of depth in the background, while the balloon floats peacefully unchanged through the scenes, encouraging the viewer to reflect on the constant change and transience of time.

Stillstand: Persistent Control, 2012, video installation, 5:35 min

Original title: Štilštand: postojana kontrola

The piece deals with itself, its very inception, which came out from discussion. A lot of ancillary contemplation and emotion which revolved around an immaterial core – the idea.

"The more it’s an idea the less it’s a form. (...) This explains a new kind of anxiety in the creative process. It seems like every new work defeats itself. (...) it all revolves around an essence which crystallized itself at some point and translated itself into an artifact or something. This cannot happen until it has been decided that it's happened."

Lift, 2011, video, 3:33 min

Piece was made in the midst of the tourist season in the hotel on the Adriatic coast. The camera was positioned in front of a double elevator, stopping its transport and capturing the reactions of the people caught inside. The groups typically respond with laughter, uncomfortable moment distributed among them, while exposed individuals achieve almost portrait like quality, unable to hide from the unwanted camera/gaze counting down the seconds until the elevator doors close.

The piece plays with direction, sometimes juxtaposing two situations, playing with the rhythm of the closing doors, and generally dynamizing the performance process. The video invites reflection on privacy and the invasiveness of uninvited (artist's) attention. In doing so, it reveals subtle social dynamics that leave room for open interpretation.

Circle, 2011, installation

The piece aims to expose the precarious situation of a young artist by playing the game of Jenga as if handling biologically hazardous substance. By rules, intervention creates increasingly unstable and complex structure, made even more difficult by the fact that players have to wear gloves as they carefully maneuver the blocks, each inscribed with quotes from the artist. These quotes shed light on the precarious nature of the art scene in Croatia and beyond, as well as the artist's personal reflections on the creative process.

The use of gloves further emphasizes the need for caution and respect, both towards the artwork itself and the artist's vulnerability. Insight into the situation, dealing with it, makes the structure all the more loose, until the moment when it crashes. Each cycle takes something: something is lost, although remaining elements are the same.

Prostor je taktika I, II, III and IV, 2011-2013, installation

 Link: https://prostor-je-taktika.tumblr.com/tagged/pit12

English title: Space is a tactic I, II, III and IV

The installation I and II were made by an art collective PIT (Prostor je taktika). It is concerned with the history of the exhibition space and connecting it to the present state. Sound and video piece reference the texts and interviews that describe the atmosphere and function of the space before its present function. The artists push the boundaries of space to its bare minimum, transforming it into a memory that manifests almost entirely through an intangible auditory experience.

Installation III (2012) is made as a reflection on the phenomenon of space that is the common starting point for all the authors/artists gathered around the project, both from an artistic and theoretical perspective. Each participant completes the title statement in their own way; for some, space is a tactic of interaction, for others a tactic of constructing memory, for others a tactic of existence. For all - space is a tactic of creativity, collaboration and participation.

Installation IV (2013) titled "Being Home" takes its point of departure from the concept of home as an empty space that is filled with abstract notes of repetitive experiences of being in one's own home. The space of the predictable and the expected provides an impetus for the development of a dramaturgy that estranges the everyday, leaving room for individual interpretations of the exhibited fragments.

"buffering", 2011, video installation

Made by an art group filtrKOMBINAT.

Bureaucracy acts as a complex network of interfaces between the information and the one requesting it. Energy and financially wasteful, it also helps filter the responsibility.

The piece highlights the relationship between the articles of bureaucracy and their performative inability, resulting from its own confusion over its role in the communication chain.

Identities, 2010, installation with audio track

Original title: Identiteti ("BCNŽLJP")

In response to the question of "what is an identity", participants were given Rubik's Cubes to solve until they gave up for any reason. The cubes were then stripped of their colorful stickers, which were adhered to the wall to create visually appealing codes that can be interpreted as DNA in its abstract representation. The bare cubes were stacked on a bench nearby, and instead of playthings, they now became a series of artifacts that are meaningless without their colors, stripped of their uniqueness, but still available for play.

Meanwhile, the audience can listen to the impressions of the players who tried to solve the  original cubes, creating connections and interpretations of their characters and the abstract visual artifacts that represent them.

Through this lens, identity is revealed as a construct. The almost infinite states of the Rubik cubes were deconstructed into the finite colour codes, avoiding the uniformity that is the goal of the game.

Stage: Luck, 2009, installation

Original title: Stadij: Sreča

Art group filtrKOMBINAT made this installation as a reaction to the theme of evolution. Luck and happiness are homonyms in the Slovenian language. The four-leaf clover is used as a symbol of rarity and random evolutionary genetic mutation, connected with the chaotic structure of possibilities offered by the technology for one to create his/her own luck or happiness.

The artists draw inspiration from Žižek's assertion that only the spear that inflicted the wound can heal it, suggesting that technology, the very force that has often damaged nature, may also hold the key to its restoration. This notion invites reflection on the delicate balance between human intervention and the preservation of the natural world.

Object NOB, 2008, installation

Original title: Objekt NOB

Made by art group filtrKOMBINAT Object NOB (acronym for New Forms of Struggle) is the artefact of contemporary art, created from the foundation of modern predecessors, in this case represented by Monument of National Liberation Movement (Slavko Tihec, 1975).

The contemporary art usually develops its full potential only when the audience is actively involved and participates with their own interpretations and constructive criticism in the co-creation of the work. Unfortunately, the "new" art is often regarded as inferior to the "old" art in the eyes of the public. This piece was also created as a reaction, after the original idea was accepted and later rejected.

Gobavost, 2008, installation

Art group filtrKOMBINAT made this installation as a response to the theme of interaction between the urban growth and nature.

Original title of the piece is the word play on leprosy that can also mean fungi in slovenian lanuage, thus comparing the disease to the fast-growing shopping centres that proliferate in the urban landscape, embodying consumerism and creating further (aesthetic) distance from the nature.