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The Castle is a large scale interactive video projection designed for specific architectural sites. The title makes reference to Kafka's novel of the same name, the work taking as its subject the incomprehensible character of systems of

A live performance and ‘game’ interface, which sought to provoke and subvert audience experiences and expectations of power, pleasure and control in the interactive environment. This performance was developed in collaboration with Nuno Lacerdo in

Slides of Clovis Trouille's paintings were projected over the buttocks of a replica of the leading lady in "Mes funérailles" (1940) and also onto a paper projection screen which was torn open by inflatable tubing during the performance. At the

Tomb on the Network. A project for a magazine "BRUTUS". A work as a curator of a imaginary museum. Actual museums are sometimes said to be cemeteries for art works, well then, what if I make a cemetery into a museum? Actual cemeteries always

This work on lies and propaganda completes the “decor” of a Museum from the Soviet era that is nonetheless open to contemporary art. The almost constant real/virtual duality blends with that of solitude/multitude. The polar explorer, an isolated

Print on aluminium composite panel Modern high-tech border walls demonstrate how political solutions are being replaced by technical interventions. A clear illustration is the buttressing of “Fortress Europe” around the Spanish exclaves Ceuta and

Lecture.

Dioramas of the Divine is a series of abstracted, interactive landscapes inspired by Greek mythology. The triptych creates a unified vision of awe and power, which is divided into three distinct scenes seen from the perspectives of the gods Zeus and

Fetch-a-Sketch is a larger than life replica of an etch-a-sketch which functions as a familiar yet unique interface to the Internet -- allowing visitors in the physical space to create drawings and upload them to the Fetch-a-sketch website while

Opto-Isolator (2007: Golan Levin with Greg Baltus) inverts the condition of spectatorship by exploring the questions: "What if artworks could know how we were looking at them? And, given this knowledge, how might they respond to us?" The sculpture