I Am Also Part of the Three Turns /
Si Eu Fac Parte din Cele Trei Întorsături

  • 15min, 2024

I Am Also Part of the Three Turns traces the effects of a destructive earthquake in Bucharest and a concurrent flood it caused in a small town in Buzau, during a period of aggressive nationalistic urbanization in Communist Romania. Weaving between the allegorical and the archival, the film sketches a causal series of personal and political congruences throughout a patchwork of intertwined landscapes. Relying on oral and fragmentary archival histories, ‘I Am Also Part of the Three Turns’ teases out a temporally irresolute past that defies the linear cause-and-effect of both environmental disaster and authoritarian political repression.

Screening, Awards & Exhibition History

  • 2025 Stuttgarter Filmwinter // Stuttgart, Germany
  • 2025 London Shorts Film Festival // London, UK
  • 2025 Kuala Lumpur Experimental Film Festival
  • 2024 Rencontres International Paris/Berlin // Paris, France
  • 2024 DIFFUSIONS // Toronto, Canada
  • 2024 Rupert, Earthbonds II // Vilnius, Lithuania
  • 2024 European Media Arts Festival // Osnabruck, Germany
  • 2024 Winner of EMAF International Competition Award

archival images

Observations on the Behaviours of Buildings 1 & 2, collage on mylar
It was caused by the misidentification of distant car headlights. It was caused by the distinctly shaped profile of the mountain. With regards to the sequence of events, the reliability of such secondary sources of information is, of course, unknown.

Not An Hour

  • Earthbonds II
  • Curated by J.L. Murtaugh
  • Rupert Residency Center
  • Vilnius, Lithuania
  • 5 - 8 May 2024

Commissioned by Rupert Residency Centre, Not an Hour presents architectural form itself as a sensory organism, responding to the environment through cracks, hums, and reverberation. Vibrations transferred through steel plates tune the structure to both dissonant and harmonic resonances, in turn drawing subtle movement to the work’s fabric membrane. Not An Hour nods to both real and imagined political and architectural histories in specificity of the Baltic states’ post-Soviet context, tracing the legacy of structures which endure beyond past regimes to be recontextualized in contemporary political struggles.

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An Ant In The Mouth of a Furnace

  • Curated by Bunker 2
  • 125 Huron St. Toronto, Canada
  • Part of CONTACT Photography Festival
  • 5 - 30 May 2022

Integrating cast-glass sculptures, found objects, architectural scaffolding and multi-channeled sound, An Ant In The Mouth of a Furnace culminates into an experiential meditation on the phenomenological concerns of image-making. The site-specific installation was accompanied by a 4-channel sound work, arranged and scored with a film composer, culminating in a sensorial expression of a temporary architecture, at once reverent as a cathedral and provisional as a film set.

There There Now

  • Solo Exhibition
  • Julian Scott Memorial Gallery
  • Vermont, USA
  • 2 - 28 Feb 2019

The right hand, bigger than the head, and swerving away easily as though to protect what it advertises. He one day set himself to take his own portrait looking at himself for that purpose In a convex mirror, such as is used by barbers. He accordingly caused a ball of wood to be made By a turner, and having divided it in half and Brought it to the size of the mirror, he set himself with great art to copy all that he saw in the glass.

Poem excerpt from: ‘Self-Portrait In A Convex Mirror’ by John Ashbery

Here It Is Saturday

  • Two-channel video installation
  • 10min, 2018
  • Curated by Emily Fitzpatrick
  • Part of the group exhibition The Moving Copy
  • Commissioned by Trinity Square Video
  • Trinity Square Video
  • Toronto, Canada
  • 5 – 23 September 2018

Treads laid by large tractors mark the initial gesture that Here It Is Saturday follows behind at close range. Beyond the aggregate quarry in Southern Ontario, Canada, the two-channel film traces the transportation of sand to its use in the studio as both a casting agent and a sculptural material in its own right, meditating on the unfettered circulation of images and materials trapped within the circulatory logic of extractionism.

In My Bedroom Noon Is Darkest

  • Xpace Cultural Centre
  • Toronto, Canada
  • 16 Oct - 30 Nov 2017

Inside, a rectangular block of sunlight takes shape. The rectangle shrinks in width and climbs down the wall as the sun climbs higher on its daily course Soon, the sun breaks the stillness of noon and moves west A reflection of the parked car across the street streaks across the kitchen The kind of light that transmits–in its lack–the very shape of things This is the light of midnight and noon