I have been selected to join Transition To 8: European societies in flux (TT8), an ambitious European programme supported by Creative Europe that brings together social sciences, technology, and contemporary art to investigate how air pollution shapes the daily lives and emotional landscapes of communities across Europe. Through participatory research methods, biometric measurements, and artistic experimentation, the project opens new ways of understanding the socio-environmental tensions of our time.
Within this framework, I am developing Perfect Blue, a sound installation inspired by Martin Bricelj Baraga’s Cyanometer. The work transforms chromatic sky samples into a sonic and tactile experience, inviting audiences into a form of deep, synesthetic listening. Using specially crafted vinyl records as its interface, the installation allows visitors to activate and shape tonal compositions, turning atmospheric data into an intimate, perceptual encounter.
A European Collaborative Framework
Running until October 2026, TT8 unfolds through a network of European partners and cities:
• Eleusis (Greece) — Mentor
• Rennes (France) — Electroni[k]
• Ljubljana (Slovenia) — MoTA
• Yerevan (Armenia) — TAI (final showcase)
A series of exhibitions, workshops, and performances will accompany the project, including presentations at major festivals such as SONICA (Slovenia) and Maintenant (France). Each artist’s work will travel across at least two to four territories, culminating in the final exhibition in Yerevan in 2026.
My Artistic Direction within TT8
In October, I was in residency at MoTA – Museum of Transitory Art in Ljubljana, the partner of the project, where I began the first phase of my research for Transition To 8.
During this week, I explored the TT8 biometric and emotional data sets, observing how communities physiologically and affectively responded to scenarios related to air pollution. Although this material formed my entry point into the project, the artwork I am developing will be conceptually rooted more deeply in the Cyanometer data created by Martin Bricelj Baraga—a long-term measurement of sky chromaticity as an index of atmospheric purity. The residency therefore allowed me to establish the conceptual resonance between the two: the embodied traces of human experience on one side, and the impersonal, atmospheric measurements of colour and light on the other.
Over the course of the week, I focused on refining the conceptual structure of the future piece, identifying how these different forms of data might interact, echo, or subtly inform one another within an immersive audiovisual environment. I also examined how to translate both environmental pressure and sky-based chromatic fluctuations into perceptual, spatial, or generative forms that remain faithful to their underlying phenomena without becoming illustrative.
The residency concluded with an artist talk, offering an opportunity to share these early reflections, present my practice in spatial sound and generative image systems, and articulate how I intend to approach environmental and atmospheric data from a sensitive, experiential perspective.
This first residency provided the foundation for the work that will continue throughout 2026, setting the thematic and methodological direction of the project.