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The Sofa

In 2003 my professor and friend, Churchill Davenport asked me to go with him on a road trip. He asked me to go to Kentucky with him to his mother’s house to pick up the Sofa that has been in his family for generations. He needed the Sofa not only because of its sentimental value and history, but also more as a symbol of identity and base. The idea of heritage and the concept of friendship and family and the power of the “legend” as an object of desire can form and transform into many shapes.

Work in Progress

Building the studio, the installation, the living space. The culmination and diverse repetition of the process of moving forward with in the creative environment.

The video is projected to the floor from the ceiling.

White Balance
2012, 34 seconds on loop

The short video White Balance is a two channel integrated snapshot that refers to the calibration into moving forward and engaging with the city and its social and topographical challenges. The circler motion of the machine becomes a psychological entity. There is a continued motion that is a reminder of the energy and goals most people put forward.
The binary position of the two channel video is broken by the signifier of the “white” becoming the symbol of a balanced and almost metaphysical presence.

The metaphor, White Balance is a reference to the repetitive calibration of the daily life in the city

The Stone Gallops journeys through the seasons in a transformed time and space.

The Stone-Gallop can not feel the Cold neither warm. The Stone-Gallop is the amalgamated element, passing through the landscape. The fossil of the future that has no past or future. A constant transparency of the Neutral Hyper colortronic.

The fragmentation of the global landscape, random and Inconsistent, the forest that does not, and the trees that could not!


The video titled, “Waiting” is a glimpse into a reverse momentum of resonance. There is certain suspense, during the gradual velocity of tranquility with in the essence of change. The moment of constant repetition like the change of the seasons. It is a positive forward motion of a colorful flow of contradictions. Everything that surrounds us and is part of our special proximity gets involved in this transition. It exists in-between objects and the measurable. It is an indefinable entity, like an infinite and invisible transportation unit passing over from a static winter to a dynamic spring while localizing the moment that is in motion.

In Mobile Sanctum

In mobile – while in motion, Sanctum –privacy and in contrary intrusion of privacy. Localizing the moment that is in motion, the subject is in a static position on an object in motion; she is in motion internally, in her private and almost meditative holy place. The camera has the power to infiltrate into the sanctum. The reflection of my self and her space in the background are reminders of a distance and public space that can be personal in one’s state of sleep and of the vulnerable aspect of being in public. The close proximity of surveillance creates curiosity and obsession. This becomes a unique relationship. She looks intentionally over exposed. Her skin is white. She is calm, she is almost transparent. Intruding/entering into her dreams through the frame. The video “In Mobile Sanctum” was shot by a cell phone camera.

Rorschach-In-Motion 1

The Beach, the movement of the water, the internal/psychological change looks like it is a constant movement of repetition but in reality it is an evolution a motion forward. The same way people evolve internally and externally, the reinterpretation of the Rorschach test transforms from a static social investigation into a dynamic hybrid artwork. Altering the image by using the waives on the beach from the Melbourne shore is a perfect way to parallel nature to the Human psychic. The prospective of the external is two fold; the conflict and suspense to achieve the internal balance in one hand, and the external stability on the other hand, but there is also an in-between space, an abstract or not yet identified “space” created by the combination of organic elements and synthetic objects. In my recent works I am trying to identify and locate this transparent in-between and symbiotic space.

DeSculpting, DePicting Absolute Landscape

Veszi created a language that has diverted into what is an interconnected Landscape utopia. It is a multi dimensional relationship in the way it appears in all interior and exterior spaces. It displays our desire for being in nature periodically maybe constantly or, more frequently influences the physical landscape of our contribution to society. An utopistic vision projected from within the confine of an interior space such as the artist’s studio. Longing for a never seen outerscape that exists repeatedly and consistently as a reflection and an extension of the objects fabricated in the occupied architecture geometry.

They are neither utilitarian nor made for pleasure. There is a rhythm that develops from these choices in regards to how much landscape, as a whole becomes part of our lives.

The idea that the psychological Tamas cannot be balanced without the constant realization, that some aspects of our horizon are random but constant. The finite is inevitably infinite so the illusion of our contribution to the complex landscape of existence has to be looked at from the micro level through illusions, objects and their contrasting dialogue.

Inner Beauty is a multimedia installation that deals with several contemporary issues trough genetics or more specifically trough therapeutic cloning for mainly aesthetic purposes.The installation presents the company Belvedere Cloning Corporation that has the sole rights to “Inner Beauty” cloning. The company will grow any organs from the clients/patients cell and with the help of its artist in residence make minor aesthetic alterations that will result in a more beautiful organ.

Concern for security and safety is rapidly growing, digital imaging and profiling is becoming part of our daily routine. The introduction of full-scale body scanning as a public safety measure and the adopted technology in clubs and in other venues will affect our aesthetic expectations not only for the objects surrounding us but also for the exterior and interior of our techno-human hybrid body.

It is at this time that the BCC (Belvedere Cloning Corporation) emerges with a new product offering that concentrates not on external beauty but internal. The BCC will manufacture genetically-modified replications of one’s organs-their liver, heart, or kidneys, for example, that have been altered to be more ‘visually and aesthetically desirable.’  Their goal: to aid clients in becoming beautiful on the inside rather than the outside, thus make literal the phrase ‘inner beauty.’