This project pushed me to the recording process which is not necessarily locked in the studio but rather expands to the unconventional space such as forest. The video is a documentation of one of the days me experimenting with materials surrounded by forest accoustics and unsterile environment.

A/V work for white cube interacting with filed recordings, voice and space reverberation:

The client approached me to develop a sound design for a series of hand-drawn animations that required a sensitive and carefully considered sonic language capable of supporting the visual narrative without overwhelming its subtlety. From the outset, it was clear that the expectation was not simply to “add sound,” but to translate the tactile and expressive qualities of the drawings into an equally nuanced auditory experience. The animations themselves were rich in texture, gesture, and rhythm, often emphasizing small movements, pauses, and imperfections, and the client wanted these qualities to be reflected in the sound. This meant working closely with micro-level details: the implied friction of surfaces, the weight and timing of gestures, and the spatial relationships between elements within the frame. Rather than relying on conventional or hyper-realistic Foley, the client encouraged an approach that balanced recognizability with abstraction, allowing the sound to feel organic and embodied while still maintaining a certain ambiguity.

The AV piece/sound installation is a collaboration between two Georgian artists, Mananiko Kobakhidze (Animation) and Nino Davadze (Sound design / Sound Installation). The collaboration is based on an architectural environment inspired by Soviet bus stops, mostly built between 1950 and 1980. The multimedia experience talks about time, waiting, communication, and a sense of disconnection from space, along with internal anxiety and a pressure of time while waiting.