’Listen to the Shadows (dialogue)’ is an experimental sound piece blending two distinct sources. The first is a contact microphone recording of a shadow’s sound, which, mysteriously, reveals a deep, rhythmic low-frequency beat. The second is a live improvisation session with a MIDI controller, capturing an intuitive and eclectic flow of sounds. The mix of these two layers could be perceived as a conversation between my shadow and me. A dialogue that can happen without words, in the middle of an erratic promenade that –maybe– leads to silence. 

’Listen to the Shadows’ is an experimental handmade art book that gathers a selection of visual material created through the principle of transduction. An erratic promenade where one is invited to experience not only the sound of a shadow but also the scan and print of a video, and even the image of a sound. 

The idea behind my book was to recreate the experience of a full day of sounds in Șona. To convey this concept, I focused on a visual representation through images and sketches.

I went out into the village with my sketchbook, ready to listen to the sounds around me, sketching quickly to capture how each sound made me feel. At the same time, I photographed the places where the sounds originated. For every sound and image, I also noted the exact time of day, down to the hour and minute. I wanted the book to feel as authentic as my real-life experience.

Echoes, Spells, and Disenchantment is a two-part project exploring memory, time, and history through sound and AI-generated imagery. Focusing on the village of Șona, Romania, it examines how oral traditions, myths, and conspiracy theories evolve, are distorted, or fade over time, influenced by personal recollection and modern media. The artist innovatively uses AI, leveraging its limitations to expose gaps between locally gathered stories and broader cultural narratives. By prompting the AI with collected fragments, its inability to process unusual distortions revealed which elements had been altered over time. Additionally, the AI introduced logical yet unmentioned details, forcing an iterative process of correction and discovery. This dynamic interplay between human intuition and machine prediction reconstructed a more complete version of the village’s mythology. The sound piece creates a cyclical journey of distortion and clarity, while the publication dissects and reassembles details, reflecting on the nonlinear nature of history and human perception.

Foraj is a didactic report on the extraction of Earth’s minerals. Drawing from geological methods, the author digs into the deep time of the Earth and the timelines of human interests. As an extension, the sound piece simulates the sonic atmosphere of a mine, based on a series of field recordings captured in Șona.

Inspired by the artist’s stay in Șona, the book and the sound piece explore the concept of soothing recurrence: as we grow comfortable in new surroundings, anxiety and uncertainty are being replaced by routines and the familiar.

In Wind sounds blend to create a meditative soundscape. Rather than being simply recorded, most are detached from their apparent origin: produced through voice or body and then manipulated through editing. Breathing blends with what seems to be the sound of the wind, forming two distinct layers, between which other sounds emerge and alternate.

The book Familiar trees recontextualizes illustrations of scientific origin, selected from a homonymous work dating back to the 1900s. By associating photomicrographs and drawings with my own photographs, the meanings transform and settle at the boundary between two fields: encyclopedic and artistic. The short scattered texts impart the book with an affective essence, referring to the body.

The formal choices, notably the practical size of the work, aim to evoke the appearance of a pocket notebook used in research, while also resembling the design of a classical photography book.

*a short piece obtained through drawing the two frontal views of the main street of Șona, extracting the rhythm given by the positions of the drainpipes, and translating it as a graphic image into Ableton live. The main sound module for this graphical representation of sound was registered inside one drainpipe during a very mild rainy moment. 

This publication explores the perception of time in a variety of landscapes affected to different degrees by human intervention. The sonic environment that develops from this interference with the natural world, such as architecture, from incipient to industrialized, directly affects the perception of time. 

The concept of the book is rooted in the sounds and visuals of Șona. I recorded the sounds that intrigued me and blended them with those from my imagination. Then, while listening to the track, I sketched and wrote down whatever caught my eye and mood. The book is a mix of poems and illustrations that accompany the sound piece. The drawings follow two approaches, some are highly detailed, while others remain loose and sketch-like. Ultimately, the whole book captures a feeling, something from my mind that is loosely connected to real elements such as sounds, houses, people, landscapes, and animals.

This publication presents the extent of knowledge about <<mankind>> in the Post-Anthropocene era. By examining surviving archives and fossils, it documents a hypothesis on the factors that led to the end of this civilization. 

In my project, I wanted to give voice to non-human inhabitants of the earth. I created a typeface that was used to write the scientific work on the archeology of the future, in the post-Anthropocene period.

Following the illustrations presented in the work, we can only hypothesize about the end of human civilization.