My artistic work explores the interplay between film and architecture. I build architectural models of buildings and interiors, which I then stage cinematically. These become empty, stage-like spaces that largely do without language—silent scenarios open to projection and interpretation. My starting points are often lost or forgotten utopias, heterotopias (realized utopias), or failed places. Each film project begins with extensive research: I immerse myself in historical, media-based, or personal contexts, visit locations, speak with people, and conduct interviews.

My films primarily address the failure of utopian architecture, the reactivation of such spaces, and the affectivity of the built environment that surrounds us. The model plays a central role in this process: it is a state of transition—a kind of aggregate between idea and reality. It allows for looking forward or backward, it simulates, deceives, and disorients. To me, film is the ideal medium for architecture—because it creates and connects spaces where none previously existed. Through editing and collage techniques, new, hybrid spaces emerge in my works, which enter into dialogue with real-world locations and open up new layers of meaning.

In contrast, my photographic works depict the negation of space—documenting the destruction of these models. This method allows me to actively question and deconstruct space and architecture, rather than merely represent them. At the heart of my practice lies the tension between utopia and dystopia. As built environments, architectural spaces embody collective hopes, dreams, and visions. Yet the gap between idea and reality remains. My work engages precisely with this collision—between what could be and what remains.