creative workflow

Initial concepts take shape through pencil sketches and written notes on paper. For my video works, I conduct visual and conceptual research using the programs PureRef and Evernote, and create digital environments in the 3D software Blender, where I model characters, design stage-like sets, and control lighting, atmosphere, and physical effects; Materials are created from scanned textures or generated in Photoshop and Substance Painter (3D materials), while animations are created through motion capture recordings of my own movements using multiple cameras. The sound is composed in the music software Cubase or sourced from licensed libraries. Post-production (editing, sound, effects, etc.) is carried out in the film software Premiere Pro.

My working method also involves 3D scanning human figures and creating sculptures using my two 3D printers with recyclable PLA, often combined with traditional materials in installation contexts. Media players are used to play my film sequences at predetermined times. A characteristic feature of my technique is the use of large-format, vertically mounted screens that function as spatial extensions. The perspectival design of my scenes—such as digital door frames—creates an illusion of depth. This also enables direct visual interaction between the digital protagonist and the real viewer, who is effectively looking directly into a room through an open door.

I convert some of my digital creations into printable data. Using my 3D printer and a finishing process I developed myself—which gives the sculptures a glass-like appearance—I transfer my digital art into physical objects in the real world. This results in installations in which my figures exist simultaneously as animated digital entities and as static sculptures. I develop and design everything independently. In doing so, I deliberately avoid the use of generative AI, thereby emphasizing authorship and control over all phases of production.