Year: 2022
Medium: Sound design & Motion design (Digital Video)
Format: 1920*1080 px
Duration: 2 minutes 10 seconds
Tools Used: After Effects, Reaper
This piece, titled Soundscape, explores the emotional resonance of audiovisual abstraction through the reinterpretation of found footage. Inspired by Max Cooper’s Repetition video directed by Kevin McGloughlin, I recontextualized the visuals and designed a new sonic environment to accompany them. The original clip’s rhythmic visual design provided a compelling foundation for experimenting with how familiar imagery—such as natural textures, soil, and life cycles—can be transformed into something uncanny through sound.
Rather than aiming for consistency in the sound composition, my focus was on evoking sensation and mood. The video incorporates fragments of classical music, chosen for their cultural familiarity and emotional weight, alongside manipulated ambient and environmental sounds. This intentional layering creates a contrast between the recognizable and the abstract, enhancing a sense of strangeness and displacement. The work seeks to blur the line between the seen and the heard, grounding the audience in something both tactile and ephemeral.
“BAPTIZED”
Year: 2023
Medium: Video Art, Sound Collage, Audio Visual
Format: 1080*1920 px
Duration: 1 Minutes 37 seconds
Tools Used: After Effects,TouchDesigner
Baptized was my first experiment in audiovisual work—an attempt to translate a deeply internal experience into both sound and motion. The piece began after a visit to a church in Milan, where I found myself unexpectedly moved by the atmosphere, the echo, and especially the choral music. I began listening to church choirs during my stay, not out of religious conviction, but because I was drawn to the weight and spaciousness of those voices. They felt ancient, suspended—like something touching the body without ever making contact.
That experience stayed with me, and when I returned, I began working on this piece. The sound design became a collage of different textures: fragments of choral audio, but also sounds I recorded myself—necklace chains, kitchen tools—small, metallic things that echo against each other like a kind of secular ritual.
Visually, I worked in abstract forms, letting the movement evolve intuitively. The shapes and rhythms trace a loose journey—one that I imagined as the movement of a human body through space, sound, and sensation. There’s no fixed narrative, but a sense of passage. In a way, Baptized became a symbolic initiation—not into faith, but into a deeper awareness of how sound enters us and stays.
Year: 2022
Medium: Sound design
Format: 1920*1080 px
Duration: 2 minutes 14 seconds
Tools Used: After Effects, Reaper
This video art piece was developed in dialogue with the academic text Sound Art: Origins, Development and Ambiguities. The work reflects on the evolution of sonic experimentation through the lens of Edgard Varèse’s artistic legacy, whose emotional attachment to his family and openness to new collaborations deeply resonated with me during my research. Varèse’s sensitivity and drive—shaped by his transnational upbringing and encounters with figures like Erik Satie, Claude Debussy, and Pierre Schaeffer—underscore the emotional foundation beneath his pioneering electronic compositions.
The soundscape is composed from manipulated recordings of everyday kitchen tools, recontextualized to evoke Varèse’s idea of "sound objects, floating in space." This material choice echoes his belief in the musical potential of noise and the democratization of sound. Visually, the work features kinetic typography and abstract motion graphics, designed to translate sonic rhythm into a dynamic visual language, mirroring the tensions and textures of the audio. Rather than presenting Edgard Varèse as a flawless figure, the work embraces the complexity of his legacy—his visionary contributions to electronic music alongside the cultural and ideological tensions embedded in his views and historical reception. By engaging with Varèse’s controversial artistic and political expressions, the piece acknowledges the layered challenges of innovation within a resistant cultural environment. Through the interplay of dissonance and abstraction, it explores how sound and image can become vessels for both historical memory and speculative imagination.
Licht, Alan. “Sound Art: Origins, Development and Ambiguities.” Organised Sound, vol. 12, no. 1, 2007, pp. 3–10. Cambridge University Press, https://doi.org/10.1017/S1355771807000022.
Year: 2024
Medium: Video Art, Sound Collage
Format: 1080*1350 px
Duration: 48 Second
Tools Used: After Effects, TouchDesigner
This piece centers around the concept of surface—how it holds, hides, or resists what lies beneath. As in my other works, sound leads the structure: there’s a guiding audio element that doesn’t just accompany the visuals, but determines their rhythm, tension, and release. I see the sound not as a background feature, but as an active force shaping what the surface becomes.
Visually, I focused on the interaction between foreground and background—on how the surface constantly shifts in relation to what lies behind it. This dynamic is expressed through the merging of two distinct colors, each one moving toward and into the other. These transitions aren’t just aesthetic choices; they reflect a psychological push and pull—between clarity and ambiguity, presence and erasure.
The act of counting, which runs through the audio, stems from something very personal: my anxiety around time—specifically, the fear of not experiencing enough in this lifetime. The count becomes a kind of metronome of urgency, a reminder of limitation. It loops and builds tension not to resolve it, but to sit with it.
In this work, I wanted to examine how something as seemingly simple as a surface can hold a complex, emotional architecture. How it can reflect fear or impermanence—especially when activated by sound. Like many of my pieces, this one is about letting sound transform the visual from something still into something alive, responsive, and unstable.
Year: 2023
Medium: Video Art, Sound Collage
Format: 1080*1920 px
Tools Used: After Effects, TouchDesigner
Description:
A commissioned audiovisual piece created for the brand doomster.m, combining generative visuals and custom sound design. Built in TouchDesigner, the project explores particle dynamics and image reveal techniques to create a textured, immersive identity for the brand.
Year: 2024
Medium: Video Art, Sound Collage, Motion Illustration
Format: 1080*1920 px
Duration: 36 seconds
Tools Used: After Effects, Procreate, Archival Audio
This video art piece is grounded in ideas from Practical Art of Motion Picture Sound by David Lewis Yewdall, particularly its opening chapter on the foundational power of sound in film. Yewdall’s exploration of how sound evolved from a technical component to a narrative force prompted an investigation into how voice, tone, and editing shape perception.
The visual and sonic structure of the piece was developed in response to the edited video "The Talk: Morgan Freeman & Ted Turner", created by Jonas Hollerup Helle. This fictional dialogue—constructed from archival footage—became a conceptual springboard. The surreal juxtaposition of two public figures, voiced through fragments of real interviews, questions authenticity and authorship in media. In this work, sound becomes more than a support for image—it becomes a narrative force that redefines context and meaning.
Using Procreate for frame-by-frame illustrations and After Effects for motion design, the visuals were crafted not to illustrate the audio literally, but to respond intuitively to its rhythm and emotional undertone. Textural overlays, abstract gestures, and layered metaphors create a visual echo of the constructed conversation, reinforcing the idea that sound is never neutral—it shapes, distorts, and guides interpretation.
Year: 2022
Medium: 3D Design, Environment Design
Format: 1920*1080 px
Duration:
Tools Used: After Effects, Unity, Photoshop
Branches is a collaborative 3D environment project born from the desire to create a work free from fixed meaning—something undefined yet fully felt. Inspired by the idea of a game, the piece reflects the chaos and unpredictability of life itself, shaped by a meeting of artists from different disciplines and perspectives.
The project reimagines how art can be created collectively, without hierarchy or authorship. Much like the “exquisite corpse” game, each artist contributes to a chain of creation without seeing the whole, resulting in a multi-sensory, unnameable form that merges audiovisual design, sculpture, sound, and text into a shared digital space. It’s not just an artwork—it’s a reflection of collective consciousness.
Where previous works of mine focused on uncovering layers within singular concepts, Branches deliberately avoids clarity. Instead, it asks: what happens when we blur boundaries between mediums, disciplines, and creators? Can we generate a new artistic language—one not defined by category, but by the experience it creates?
Ultimately, Branches is not just a piece, but a proposal: it could evolve into a film, an experimental platform, or a participatory environment where many contribute, unknowingly, to a larger form that none of us could imagine alone.
Year: 2024
Medium: Video Art, Sound Collage
Format: 1080*1350 px
Duration: 1 Minute
Tools Used: After Effects, TouchDesigner
Dinosaur Heart is an audiovisual piece built around the image—and absence—of something ancient and once-powerful. The title came to me as I imagined the heart of an animal that no longer exists, something once full of motion and intensity, now silent and unreachable. The piece isn’t about dinosaurs literally, but about the concept of a body that no longer pulses, and what kind of visual and sonic language might still speak for it.
I created a series of abstract visuals where textures and colors shift gradually—sometimes barely perceptibly—evoking the idea of something once-living, now suspended in a kind of visual echo. The surface of the image flickers between organic and mineral, wet and dry, alive and inert.
The sound design was built to mirror this slow, internal tension: low pulses, glimmering overtones, and textures that stretch and compress like breath long after life. The audiovisual relationship is not illustrative, but resonant—each medium influencing the other in tone, rhythm, and temperature.
Dinosaur Heart became a quiet meditation on absence, presence, and the traces left by something that once had life. It's about honoring what’s no longer here, while exploring the emotional textures that remain.
Year: 2024
Medium: Video Art, Sound Collage
Format: 1080*1920 px
Duration: 36 seconds
Tools Used: After Effects, Procreate, Archival Audio
ORCA is an audiovisual piece that grew out of an earlier painting installation—a large 187 × 128 cm frame whose glass surface I painted by hand. I brought that frame home, deliberately, as a way to confront a fear that’s been with me for as long as I can remember: the sea, and more specifically, my deep unease around fish. The act of carrying something that size into my personal space—something that symbolized the vast, unknowable sea—felt like willingly inviting that fear indoors. That frame became a kind of threshold, and ORCA is what followed.
This video and sound composition emerged as a continuation of that encounter. Using TouchDesigner, I created a layered, fluid visual space built from collage and digital motion—never literal, but always suggestive of submerged environments. The sound design includes elements inspired by dolphin calls I heard in a documentary. I was drawn to their sharpness and strangeness, but also disturbed by them—the way they reminded me of the silent, alien communication I’ve always projected onto fish. Incorporating them into the piece became a way to give shape to that discomfort, and ultimately, to reclaim it.
Rather than depict fear directly, ORCA holds it in a suspended, aesthetic space—neither fully abstract nor entirely representational. It’s a work about proximity: about bringing fear closer until it becomes something I can live with, maybe even understand. In that way, the video isn’t just a continuation of the painting—it’s a deepening of it. The sound and image become a home for the sea, on my terms.