While physics considers the evidence of a performance or a power through its impact on matter, in art the unseen performance is often unrecorded, overlooked, even occasionally neglected despite its effects. I am particularly interested in the unseen- that which in first approach is rendered invisible by the eye and therefore escapes awareness.

In my work I use printed material, digital recordings, internet resources and electronic devices to coordinate evidences of such ‘background’ or often neglected performances on individual or collective level. I combine technical means and platforms used in common tasks by the public, in order to figure out the new narratives these performances convey to our senses.

Such performances gain socio-political attributes when they are active on collective level. They cease to be a ‘personal choice’ (as largely claimed through marketing promotional campaigns) while enhancing their cultural dominance.

In the work on landscape I have explored a series of cultural elements of the very current culture which in various cases subliminally suggest new types of landscapes and perception of nature, a theme also very common in painting.

Overall I bring in the foreground dominant clashes of mater and concepts which end up in hybrid forms of artworks reflecting an eutopian ideal. What is a common ground in these artworks (prints are made in Microsoft Office Word) is actions performed in places unrelated to art –usually offices and administration- or public platforms of individual contribution (Wikipedia, Soundcloud) to explore what art looks like when it is not described by the formality of the tradition and institutional constraints but made possible by a dominant constituent of western culture: administration, public/internetic services and the cultural tenacity of these means which through marketing are commonly promoted as channels of individuality, creativity, expression and participation.