Eleven minutes, audio installation, duration unlimited, 1973-2020
Rad se sastoji od rekonstruisanog artefakta, telefona, i audio zapisa u kome se zvono telefona oglašava nakon 10:40 sekundi tišine. Prostor u kome telefon stoji je ozvučen, i zvuk do posmatrača dopire sa svih strana, ne iz artefakta. Na ovaj način simbolično predstavljam poziv u pomoć u globalu, koliko i poziv na osvešćenje i samoaktuelizaciju. Kombinacijom prostora, zvuka i objekta kreiram meditativni prostor sa katarzičnim elementom koji publici nudi platformu za suočavanje sa globalnom S.O.S. mrežom poziva na koje niko nije odgovorio i za koje niko nije podigao slušalicu. /// The work consists of a reconstructed artifact, a telephone, and an audio recording in which the telephone's bell rings after 10:40 seconds of silence. The space in which the phone stands is sounded, and the sound reaches the observer from all sides, not from the artifact. In this way, I symbolically represent a call for help globally, as much as a call for enlightenment and self-actualization. By combining space, sound and object, I create a meditative space with a cathartic element that offers the audience a platform to face the global S.O.S. a network of calls that no one answered and for which no one picked up the phone.

Carpet of youth, (salvia officinalis) taktilno-mirisni objekat, material: sušena žalfija dimenzije 6,5 x 2,10 m 2018-2020
Rad se sastoji od kombinacije sušenih žalfija donešenih sa dve teritorije: jedna je žalfija dobavljena iz lokala na kome sam rođen, druga sa lokala na kome je tepih uništen. Nakon toga, kombinovanjem ove dve tonski različite zelene, a suštinski iste biljke, rekonstruisao sam tepih koji je bio fundament mojih dečijih zamišljenih i nepreglednih svetova, a koji je indukovao zdravstvene tegobe. Žalfija se pojavila kao jedini logični materijal, jer pored svih svojih lekovitih svojstava, to je bio jedini čaj u periodu alergija koji je inhalacijom pomagao da prodišem ponovo. Rad je simbolična predstava ,,čišćenja” i ,,zagađenja” fizičkog i duhovnog prostora okupljenih oko njega, bezbedna zona za bivstvovanje, jedan neutralni pravougaonik kao epicenter infantilnih svemira koji ne slute da suviše vremena provedenog pored ovog lekovitog polja scene, može napraviti ozbiljan problem u bliskoj budućnosti. /// The work consists of a combination of dried sage brought from two territories: one sage was obtained from the place where I was born, the other from the place where the carpet was destroyed. After that, by combining these two tonally different green, and essentially the same plants, I reconstructed the carpet that was the foundation of my children's imaginary and endless worlds, and which induced health problems. Sage appeared as the only logical material because, in addition to all its healing properties, it was the only tea in the period of allergies that helped me breathe again by inhalation. The work is a symbolic representation of the "cleansing" and "pollution" of the physical and spiritual space gathered around it, a safe zone for existence, a neutral rectangle as the epicenter of infantile universes that do not suspect that too much time spent next to this healing field can create a serious problem. in the near future.

Familiar pieces video rad, trajanje: 9:59, Full color, HD, stereo sound, 1991-2020
Rad je video snimak performativne akcije popunjavanja porodičnog albuma fotografijama sa mog prvog rođendana trideset godina kasnije. Na pitanje zašto se ne nalaze već u ovoj porodičnoj relikviji, majka je kratko odgovorila: ,,Nisam imala vremena”. I to sad razumem, sad zaista razumem. U potrebi da se album završi, da pocepane i izbačene fotografije preminulih ili nepoznatih ne ostanu baš u potpunosti zaboravljene, biram da popunjavanjem albuma fotografijama sa svog pvog rođendana skoro trideset godina kasnije, konačno postanem deo jednog stabla, kolektiva, istorije. Moje generacije odrastale su na postulatima države koja je nestala, svo iskustvo koje imamo nasleđeno je od nekoliko generacija okolo nas, a život za koji smo spremani nikada se nije dogodio. Umesto toga sačekala nas je država ideološki daleka od onoga što je budućnost trebala da bude. /// The work is a video of a performative action of filling a family album with photos from my first birthday thirty years later. When asked why they are not already in this family relic, the mother answered briefly: "I didn't have time." And I understand that now, I really understand now. In the need for the album to end, so that torn and discarded photos of the deceased or unknown do not remain completely forgotten, I choose to fill the album with photos from my first birthday almost thirty years later, finally become part of a tree, collective, history. My generations grew up on the postulates of a state that has disappeared, all the experience we have is inherited from several generations around us, and the life we are ready for has never happened. Instead, the state was ideologically far from what the future was supposed to be.