Identity research, 2011. - 2017. (video performans)
Promišljanje identiteta kroz video-performans započeto je 2011. Osnovno pitanje za mene kao umetnika bilo je prihvatanje sopstvenog izgleda, kroz pokušaj da budem objektivan koliko je to moguće. Kroz analiziranje eksterijera, interijer je počinjao postajati aktivni deo svakog rada. Živimo u svetu, gde su najveće prepreke da prihvatimo sebe, stid i strah od mogućnosti da budemo pogrešno protumačeni i antagonizovani. Ali čak i prirodne, koliko jesu u ljudskom ponašanju, ove limitiranosti nisu nesalomive. Kao umetnik, verujem, da bi smo razumeli svet, nije moguće ako ne dozvolimo sebi da testiramo upravo te limitiranosti koje imamo, one koje smo sami postavili, ili one koje je pred nas postavilo društvo kao deo opšte kulture i tradicije, pojmova koji poput sunđera u sebe mogu podrazumevati sve što bi u jednom trenutku političke volje bilo poželjno. Identity research investigation in video performance started in 2011. First question for me as an artist was acceptance of my own body, trying to look at those as objectively as I can and get to know my exterior. While investigating exterior, interior started to be active part of every work. We live in the world, where the biggest limitations for us to experience happiness and self-acceptances are shame and fear of being wrongly interpreted and disgraced. But even natural as they are in human behavior, those limitations are not unbreakable. As artist I believe, to understand the world is not possible if we don’t allow ourselves to test all limitations that we have, the ones that we build, or the ones that we learn or take from society as part of our culture and tradition. And to love is to know better yourself; to know better is to question your true and learned nature.

NO TITLE, OR SUBTITLE 2016. (serija kolaža)
NO TITLE, OR SUBTITLE, ili kako je ja nazivam – 12 meseci ideologije, je serija kolaža sa minimalnom intervencijom. Kroz ove kolaže koristim i suprotstavljam različite vizuelne materijale da opišem realnost. Usput, ista ta realnost se nije mnogo promenila poslednjih decenija, i materijal je ’zastareo’ možda baš namerno da uputi i na tu činjenicu. Odliv mozgova je velika tema za nas danas, i svi govore o migracijama, gubitku populacije, najčešće onog mladog i obrazovanog dela. Sve je to posledica katastrofalne ekonomske situacije, tako vole to da opravdavaju, ali da li je samo to uzrok? Da li je socijalna pozicija jedina koja sprečava ljude da ostanu, šta je sa političkom situacijom, šta je sa pravljenjem generacije za generacijom zarobljenicima prošlosti, praveći tako nemogućom diskusiju o sadašnjosti, šta je sa brisanjem budućnosti. Šta je sa tim? Ovo je 12 dokumenata o tome, igra asocijacija o kojoj želim da razgovaramo. NO TITLE, OR SUBTITLE, or as I call it – 12 months of ideology, is collage series with minimal intervention. I’m using and confronting different visual materials to describe our reality trough this collages. By the way, the same reality didn’t much change over the decades, and material is maybe outdated on purpose to show exactly that. Brain drain is big topic nowadays, and everyone is talking about migration, and loosing population, usually young educated people. It’s all because of economic situation, they love to justify, but is it just that? Is social position the only one pushing people out, what about political situation, what about making generation after generation prisoner of the past, making present impossible to be talk about, and erasing future completely. What about that? This is 12 documents about that, game of association I would like to talk about.

THE ARTIST IS DEAD 2016 (multidisciplinarni projekat)
THE ARTIST IS DEAD, projekat je sadržajni više-medijski koncept koji podrazumeva video, performans, instalaciju, intereakciju sa publikom i foto-dokumentaristiku; kakogod, u ovom kontekstu istaknut je performans. Živa skulptura, kako ga često nazivam, ovaj performans je trajao 75 sati, ujedno je najzahtevniji rad koji sam do sada izveo. Ležao bih po 6 sati na galerijskom podu svakoga dana, prekriven crnom tkaninom, nepomično i usporenog disanja, pokušavajući da izgledam što je mrtvije moguće. Skepticizam publike upućuje na uspeh ovakve akcije. Ljudi su ležali pored mene, otkrivali me, pričali mi raznovrsne priče, dodirivali me, te pokušavali raznim drugim metodama da utvrde da li se zaista nalazim izložen u prostoru. Testiranje sopstvenih granica, limita, kao i mentalne snage, uvek je bilo od najveće važnosti u mojem metodu rada, a ovaj performans je bio savršen izazov upravo za to. Celokupni projekat je na neki način ironična konverzacija sa Marinom Abramović, naročito ovaj performans. Umetnik nije prisutan; tako da ni umetnost nije prisutna. Umetnost je mrtva, zato što je umetnik mrtav. Pokušao sam da preispitam položaj umetnika u Srbiji, pre svega sopstveni položaj nakon 10 godina karijere. Ovo je satirično poređenje, ali poput većine drugih stvari u Srbiji, reč je zapravo o duboko tragičnoj satiri. THE ARTIST IS DEAD, project is comperhensive mixed media piece of work that includes video, performance, installation, live interaction and photography; however, in this context it is presented in a form of a performance. Alive sculpture, as i usually say, this performance lasted for 75 hours, it was most demanding work I did so far. I was lying for 6 hours on the gallery floor every day, covered with black textile, only breathing, trying to look as dead as I can. Sceprticism of the audience shows success of this action, people would lie next to me, uncover textile, speak to me, touch me, and do many things to find out am I really in the gallery space. Testing my limitations, boundaries, and my strength, was always most important part of my working method, and this performance was perfect challenge to investigate exactly that. Whole project was in some sense ironic conversation with Marina Abramović, especially performance. The artist is not present; therefor the art is not present. The art is dead, because the artist is dead. I’m trying to question the position of artist in Serbia, my own position after 10 years of career. This is satirical comparison, but as many other things in Serbia, it’s actually deeply sad.