São Paulo, 1986. Mechatronics, design, live-cinema, scenography, technical direction, immersive exhibitions. Two lineages operate together, the artistic lineage of light in space and the technical lineage of fabrication and systems.
Born in São Paulo, 1986. My grandparents came from Poland and Romania in 1933, Jews fleeing Nazism. My father taught me that emancipation comes through making. Test the idea in matter before claiming it's good.
I studied Mechatronics at COTUCA (Unicamp, 2002–04) and Design at FAU-USP (2007–14). My thesis, LUZCIDADE, traced the lineage from Moholy-Nagy to Dan Flavin and from Flavin to my work with light in São Paulo's public space. Advised by Carlos Zibel Costa, committee included Giselle Beiguelman. I'm not an artist who learned technology. I'm a technician who became an artist. The order matters.
In 2008 I joined BijaRi, where I worked as a VJ and art director for nine years. Live-cinema at Itaú Cultural (2008), video-scenery for Ivete Sangalo at Madison Square Garden (2010), three editions of Villa Mix Goiânia with Guinness Record for the world's largest LED stage (2013–15). BijaRi taught me to operate at scale.
In 2017, at GTM Cenografia, I installed the Google Buttonwall in the lobby of Google Brasil with Wesley Lee (~7,000 interactive RGB buttons) and the scenography of YouTube Space Rio at Pier Mauá (3,000 m², described by G1 as "the most high-tech in the world"). In 2018, at The Force, I did the technical direction of the Dimensão exhibition by Nonotak Studio at Japan House São Paulo.
In 2019 I co-founded AYA Studio with Antonio Curti. Since then, I've conceived and directed immersive exhibitions at Farol Santander, CCBB, SESI/FIESP, Japan House, and Casa Fiat. I design the spaces, conceive them technically and artistically, and coordinate multidisciplinary teams of motion designers, programmers, architects, and technicians. Antonio signs the curatorship. AYA is the system, and I'm one of the engines.
My work stands on two lineages. One artistic, from Moholy-Nagy to Dan Flavin, from the light-space modulator to the fluorescent lamp as medium. Another technical, which comes from mechatronics and digital fabrication. The works are born from the intersection of these forces. Revealing the invisible is what persists, from the buried Córrego das Almas in 2012 to the mycorrhizal networks of Floresta Utópica in 2025.
Years after the thesis, this lineage reappeared explicitly in the book 100 Anos de Arte Moderna: a cena contemporânea, by Carlos Zibel Costa, the same advisor who accompanied LUZCIDADE at FAU-USP. The profile dedicated to my work articulates Cachoeira, sem título, para Mantiqueira, and OCEANVS as parts of a single trajectory, from light in public space to the construction of immersive environments.
In 2026 the work moved inside the machine. I build the engines the pieces run on, on local hardware, in the studio, with no dependency on the cloud. 2047: Arquivo de depois, made with Giselle Beiguelman and opening in October at Casa Firjan, is where that position becomes explicit, a machine that reads the present and writes the future onto continuous paper. Player 1 is in production at Farol Santander. The technical research underneath both is published in open repositories, because measuring and showing how the thing works is part of the work.