I was born in Niš, Yugoslavia, in 1979, where I earned a master’s degree in architecture. In 2012, I moved to Vienna, where I work as a youth worker, photographer, and artist.

I began learning photography as a teenager, but it was in Vienna that I continued developing my skills, first at the Friedl Kubelka School for Artistic Photography and later at Die Graphische, a photography college. Since April 2024, I have been a resident in the art studios at Das Weisse Haus in Vienna.

Growing up in Yugoslavia during the 1990s, I was deeply affected by the economic crisis, wars, and the widespread erosion of humanity. These experiences left a lasting mark on my well-being and led me to seek solace and purpose in anti-war, feminist, and queer movements. Years of activism not only shaped me personally but also profoundly influenced my approach to art and photography. 

Artist Statement

My artistic practice is interdisciplinary, with photography as my primary medium. It is shaped by my experiences in political activism, social work, and many years of involvement in queer communities. These experiences inform both the subjects I explore and the methods I employ, leading me to move between different media and formats, including text, sound, installation, and photobooks.

My interests focus on the aesthetics of social classes, imposed gender roles, and, more broadly, patriarchal and capitalist structures, as well as their influence on human behaviour. Although I often describe my approach as rooted in documentary practice, I continuously move between the document and personal experience.

Documentary strategies are my way of approaching a subject, understanding it, and remaining in direct contact with it. Documentation thus becomes a space of lived experience — a space that not only represents social realities but also actively engages with them. At times, I remain within this framework, while in other situations I move beyond it, using myself, other people, or objects to approach these subjects from a more subjective perspective.

This oscillation between observation and personal engagement has increasingly led my practice towards more hybrid forms. By expanding and disrupting documentary methods, and by bringing different media together, I develop works that exist between reference and subjectivity.