Kaio (Burn) emerged from a longer engagement with wildfire-affected landscapes in Greece.

After encountering the immediate aftermath of nearby forest fires, I began collecting burned bark and wood from the region — material that held both physical trauma and symbolic weight.

The blackened textures, fractures, and scars in the wood became a point of departure for a series of sculptural studies. Laser engraving, typically associated with precision and control, is here applied to material already shaped by destruction. Rather than imposing order, the laser acts as a second layer of inscription — one that echoes the original burning while introducing a new, systematized language.

The works investigate the overlap of natural trauma and technological intervention, where the surface becomes a field of dual legibility: both organic and encoded. In these pieces, fire and machine meet as competing authors of form.

The virtual forest burns in sync with the rising and falling heat of real-world places that have already experienced catastrophic fire. The work plays on the tension between distance and proximity: the screen offers a mediated view, yet the real-time data anchors it in the present. It explores the idea that ecological catastrophe is increasingly experienced through dashboards, streams, and simulations — events are witnessed more often in graphs than in person.

The simulation thus becomes both a memorial and a warning, reflecting on the limits of remote empathy and the challenge of representing climate trauma through the lens of
technology.

Variations is part of the Breathing Spaces series by Ben McDonnell and Nemo Nonnenmacher. The work explores how sound and image can co-structure one another, tracing rhythms of expansion, instability, and support between physical space and its digital translation.

At the centre of this installation is a 3D scan of a rotating Leslie speaker, a mechanical instrument of resonance whose distinctive swirling sound has travelled from church organs to rock stages. Here, its scanned form, composed of over 120,000 digital points, is animated by sonic input—expanding, contracting, and dispersing in response to the shifting dynamics of the music.

The soundscape itself is drawn from McDonnell’s long-term compositional practice: instructions given to musicians to respond directly to the architecture in which they performed and recorded. Breath, Korean flute,

This body of work investigates the fate of the body once it passes into digital space. Through 3D scanning, transfer, and computational manipulation, physical figures are subjected to the magnifying glass of virtual tools — stretched, fragmented, and reconstituted as data. What was once formed by touch or direct material engagement is now mediated through algorithms, rendering processes, and engineered visual languages.

The result is a body that hovers in an ambivalent state: hypervisible in its digital circulation, yet increasingly dematerialised in its loss of physical presence. Seduction plays an important role in how these materials are treated. There is a memory of growing up with the excitement of the new millennium and the utopian promise of the internet and its emergent social worlds. The enthusiasm of science fiction at the time — from William Gibson’s Neuromancer to 

Other worlds, extending sensory and conceptual experience beyond what feels possible in physical space.

Research into the history of dematerialisation in art resonates strongly throughout. From the vanishing object in conceptual practice to Hito Steyerl’s notion of the “poor image” in The Wretched of the Screen, artworks have long circulated as fragile, degraded, and mutable forms. These pieces extend the logic of the “poor image” to the body itself, placing it in a state of repetition, distortion, and hypernormalisation, where its virtual presence may eclipse its physical trace.

Nemo experiments with a variety of digital tools, ranging from professional 3D software to flawed, obsolete programs whose unpredictability opens unforeseen possibilities. These mistakes and glitches remove control,

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hand I
C-Type Print, 120 x 150 cm
2017

This series of sculptures, made from laser cut wood and acrylic paint, serve as a vivid homage to the evolving landscapes of MMORPGs (Massively Multiplayer Role-playing Games) — digital game worlds that have captivated millions of people since the beginning of ‘mainstream internet’. These sculptures draw inspiration from the worlds’ various visual biomes, capturing the stages of plant and wildlife evolution as they’ve been reimagined through the lens of changing technology.

Each piece reflects the distinct environments from different regions within games like World of Warcraft, from the misty forests of Ashenvale to the arid plains of Tanaris. The sculptures act as physical representations of these virtual landscapes, showcasing the subtle but profound changes in their fidelity over the years. Simpler, more abstract forms, echo the rudimentary textures and low-resolution graphics of earlier years and their technological limitations. These pieces capture the essence of the environments, yet maintain a sense of abstraction, mirroring the pixelated, flat designs of the past.

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Distant Landscape (Azshara)
Spray Painted MDF, 90 x 45 x 6 cm
2025

This interactive virtual environment unfolds as a fully simulated biome: a living landscape that grows, mutates, and responds in real time. Built from live data streams, AI processes, and visitor interaction, it operates as much as an ecology
as it does an artwork.

At its centre lies a self-sustaining system of interdependent lifeforms and processes. Plants sprout, animals emerge, populations rise and decline, night falls and day returns. Seasonal shifts, atmospheric changes, and entire networks of interlinked species unfold according to both internal logics and external triggers.

Global weather data, biodiversity indexes, and sensor inputs from the exhibition space continuously feed back into the cycle — making each visitor, knowingly or not, part of the biome’s transformation.

A series of composite UV prints on brushed aluminium and laser-engraved wooden fibreboard frames. The works explore the transformation of natural forms through digital processes.

Created during a residency in Murnau am Staffelsee, Bavaria, the series draws from the dense wetlands of the Murnauer Moos and the surrounding alpine landscapes. Inspired by the saturated colours and intricate structures of the local flora, the pieces translate organic shapes into digitally rendered and fabricated objects.