I am interested in what refuses to be defined. When I look for the origin, every mathematical tool that attempts it breaks down: divisions by zero, divergences to infinity, indeterminate results. An asymptotic nature that lets you stand at the edge without ever touching it. That is where mathematics gives way to poetry, and where my work begins.

I do not build closed works. I build instruments and systems whose outcome I cannot anticipate, because they depend on the body that activates them: each body produces a different piece that will never recur. What I make is not the final form of a work but the medium capable of creating it. This is why I release what I develop — code, plans, choreographies, conceptualisation: a work conceived as a medium is not exhausted by whoever signs it.

I work with light, sound, code, hardware, and the body, with no hierarchy among them, and I build the tool when it does not exist. I question the specialisation that, in pursuing the frontier of knowledge, loses an integral and complex view of the world. And technical feasibility does not strike me as sufficient grounds to legitimise a technological implementation.

For years one further question has occupied me: how machines see us. I have worked it as sculpture, as a stage piece at CERN, and as an installation in Belgrade, where facial recognition was turned back on the audience itself. It is easy not to encounter resistance when the problem is unknown.