He is an unusual energy: visual artist, writer and director. Since 2000, his work has explored how a new artistic form can emerge from direct human contact — and how technology can enter that form without replacing patterns. His ongoing TRILOGIES use kinetic eneergy, texts, digital communication and painting with a human hands to create live motherboard as a imprint of us. The artist enters a city, walks barefoot through it, dressed in a bussines suit, speaks with strangers, carries a bowl for contributions, collects messages, objects, images, data and accidental encounters, while further material arrives online. The work is built from what actually happens. These encounters are not documentation or audience participation added to an artwork. They are form itself. Everything collected is translated on surface such screen or canvas. It takes days or months of everyday "pilgrimage" to complete the cycle. The final painting is tryptich for unkonown "religion", a dense field of human traces, data, errors, memories and signals, charged with the possibility that another form may emerge from it. The TRILOGIES move through pilgrimage, ritual, political gathering, durational performance, collective exchange and digital sacrifice, not as separate genres but as different human technologies for producing meaning together. Versions of the project have been performed in Berlin, Japan, India, Zagreb, Sarajevo, Beijing, New York City, Bogota and Rome. A new TRILOGY is currently in progress in Leipzig. The projects are intentionally developed outside established institutional systems and networks, preserving their dependence on direct encounters, uncertainty and the internal logic of each place.
The TRILOGY is built around three elements: BODY, ICON and TEXT. BODY is movement. It carries kinetic energy, direction, beginning and end. It adapts to space, circumstances and other people. Through walking, posture, duration and transformation, the body becomes the unstable carrier of personality. ICON is circulation. Images appear, disappear, accumulate and collapse within a continuous visual flow. The icon exists somewhere between scrolling and worship: between the disposable image and the image placed above others. It asks what is being constructed, what is being elevated, and what is already falling apart. TEXT is memory. It records reality, but by recording it also produces another reality. Text is inscription, command and prompt. It gives things names and therefore places them within a structure: the name of the father, the name of the grave — origin and disappearance, inheritance and memory. The TRILOGY can be everything at once: dramaturgy, conversation, the presence of a camera and the way people behave in front of it, the making of a painting, a concert, a public gathering, a private encounter, a digital transmission or an accidental event. Even the smallest occurrence can become an epiphany in the Joycean sense: an ordinary detail suddenly revealing a larger structure. Everything can be transferred into BODY, ICON or TEXT, and from there translated again into another state. The TRILOGY is a human form through which the physical world enters into a relationship with digital culture. It works through continuous circulation, translation and transformation: bodies become images, images become data, speech becomes text, text becomes instruction, and digital information returns as physical action. In this sense, it continues the logic of the ancient trilogy, which also brought different forms of language, ritual, performance and collective experience together within a single structure capable of acting upon the life of a community. The TRILOGY is therefore not a combination of media, but a system of translation. The body produces experience, the icon circulates and transforms it, and the text records, names and rewrites it. What enters the work in one form may leave it in another — and may return to reality already changed.
The visual material has been digitally reconstructed from lower resolution archival documentation.
The artist constructs himself as a temporal object: Recognition → Negotiation → Performance → Painting → Signal → Recognition
The viewer naturally gravitates toward the painting, recognizing in it the familiar promise of permanence associated with the traditional art object. Yet the painting changes every day. It gradually becomes the central object of an intermittent ritual that appears without announcement and disappears again. The work can be experienced both online and in the exhibition space. Within the exhibition, visitors encounter the artist's live interventions together with the traces of previous actions through monitors, sound, texts, and remaining objects. They also encounter the painting itself in a different state each day. Online, visitors follow both the live stream and an archive of previous video recordings and earlier stages of the painting. They may also submit their own prompts—instructions suggesting future actions for the artist. The ongoing negotiation between human and algorithm translates these prompts into ideologized texts.
