The main subject areas of Genetrix Foundation are situated around ethnography, the museum, and globalization. 

The work is often tongue in cheek and morphs prehistory into the present day through imagery, materials, words, and signs. 

I am interested in speculative archaeology, the strands of archaeological research which are connected to the unknown, things for which there is no evidence.  The idea of the Anthropocene era is relevant in the sense that it sees our human era as if from the future, eliding different cultures and eras into one long era of human-driven change. In a similar way, the museum in my work elides cultures and sees human culture generally from an alien perspective.

The museum sees consumerism as a powerful, mysterious and silly religion to be looked back upon in confusion from the distant future. It entertains the idea of dead culture coming to life, ritual and its modern equivalents, the slippages of signs between art, science, advertising, industry, and religion. The principles of juxtaposition and illusion are prominent.

My museum puts on the same level both the ‘worked’ materials that are accepted as aesthetic objects and the consumerist objects like chocolate and picture postcards; associations can be made between signs in any material configuration. The work has some precedent in ‘institutional critique’, in the way that it gets under the skin of seemingly objective museological modes of display




porphiry stone, LED lights and mini-display, acrylic, metal

Porphyry is the stone used in antiquity exclusively for statues of gods, with a method that has been lost for centuries, The Roman ’Venus Genetrix’ being one example. The ’Venus’, as a semantic definition, has been bent in many ways to refer to feminism or prehistoric cultures.




chocolate, LED lights and mini display, acrylic, metal

Lost relics in a ritual procession, in the same time as re-appropriation of prehistoric figurines, the meaning of these relics, be there even chocolate relics, can be interpreted in multiple ways accordingly to the specialism involved.



9 min 26sec.

video installation

Documentation of a performance taking place in the Horniman Museum London, along their ethnographic section. The video is asking wether a ritual mask lost its meaning when it became a museum object, and if museums are using a process of historical and cultural mummification to present us with dead objects.



270 x 340 mm

lead, iron nails

Somewhere stored away from sight, in a Transylvanian history museum storage, there is an object of ambiguous provenience, that sparked controversies and theories. It is not an unfamiliar process in archeology to debate or challenge theories regarding artefacts, and this shows us the relentless desire to imagine new pasts, shaped by the contemporary age and culture.