0 1 2 3 4 5, 2014. 40 min.
Note: video and audio quality reduced

Elnių Slėnis, 2016

Untitled (Port-au-Prince), 2015, video, silent, loop

Sak pase? N’ap boule! 2014. 26 min.

In December 2011 I traveled alone to Port-au-Prince, Haiti to collaborate with local artists and participate in the second Ghetto Biennale. The film is about initial expectations being transformed into realization of yet unknown practices, and explores the boundaries of communication.

Eureka Valley, 2010. 08:40 min., loop.

The project was developed in collaboration with media artist Francisco Janes, during expeditions to Death Valley in California, throughout 2010. It was filmed at the so-called ‘singing dunes’ in Eureka valley. Two fighter planes from nearby Nellis Air Force Base visit the site twice a day to perform their military exercises. Mystical, resonating sound caused by the movement of the sand dunes enhances and sustains the meaning of the war games at this location as stand-in for actual current conflict scenarios.

Bone Setters, 2009-2011. 56 min., silent. An excerpt.In Mysore, in the Fall of 2009, I met a known local healer Mohammed Khasim. He told me he could teach me his technique of bone setting and adjustment, how to work with bone fractures, dislocated joints and relieve different kinds of pain. Authentic learning consisted of my every day assistance and doing any kind of job he would tell me to do, starting with the preparation of bandages, opening injuries to the more serious adjustments on his patients. The footage was made at last week of my stay in a mutual agreement with Doctor Khasim.
The piece deals with the frailty and precariousness of the human body, pain and recovery.

Land(scape), 2008. 10:30 min.
Filmed in the Island of North Uist, Scotland, 2008.

Dream Objects I, 2008, HD,19:30 min.Documentation of one of the two land art installations developed during Binaural residency in Nodar, Portugal, 2008.
This project intends to think objects as entities of time which are independent from both our interpretations and our perceptions. Since the real
duration of objects in themselves can never be experienced as such, it is left to imagination to figure out the changes happening constantly behind our backs.
As Jean Baudrillard once put it, behind every real object there is a dream object.