XR &
NEW MEDIA

Part of my practice where painting deliberately intersects with virtual reality. I treat space as a three-dimensional canvas: every stroke is captured in mid-air and keeps the motion of the hand.

Not a replacement for the canvas — a step into how art can be taught and exhibited.

SOLO EXHIBITION · BELGRADE · FROM 30 MAY 2026

THE MONSTERS
WE CARRY

The medieval bestiary was a moral atlas: the griffin for vigilance, the manticore for cruelty, the basilisk for the gaze that destroys. This exhibition keeps the premise and moves the monsters — no longer out there in forests and the margins of maps, but in here.

LAYER ONE Painting Large-format canvases in the tradition of symbolic figuration: vivid, almost festive colour carrying unexpectedly heavy content. The brightness is deliberate — it draws you in before you understand what you are looking at.

LAYER TWO VR in passthrough Through a headset the gallery stays visible — and becomes populated with hand-drawn creatures that float in real space and inhabit the room alongside the canvases. The monsters are not behind glass; they stand next to you.

LAYER THREE AR on your phone Several works carry augmented layers you open with a camera — quieter, more intimate, visible only to those who look for them.

Visitors inside the AR layer of the exhibition

“The virtual does not supplant the real — it makes visible what was already hidden within it. A mirror into which the artist and the viewer look together.” Elena Sherstyuk · curator · VR IN Gallery, Belgrade, 2026

23 works · painting, VR and AR · the inaugural exhibition of VR IN Gallery, a new XR art space in Belgrade dedicated to hybrid media and immersive practice.

AR ON THE
CANVAS

Some paintings carry an augmented layer — a 3D object anchored to the canvas, visible from any angle. Four steps, no app to install.

SCAN TO OPEN THE AR

STEP 1 Open your camera Point your phone camera at the QR code and follow the link — it opens in your browser.

STEP 2 Allow camera access On first launch the browser asks for permission. Tap “Allow” — AR won’t work without it.

STEP 3 Point at the artwork Hold the phone 30–60 cm from the painting. After a moment a 3D object appears.

STEP 4 Explore Walk around the work — the object stays anchored to the canvas.

Hybrid media works with AR layers: “Skittles” · “Telegram notifications” · “Not your business” · “Yesterday still lives: Light we held” · “Kinderlines: Dreamkeepers” · “Kinderlines: Nowlcturne” · “Sweet box”

THE WAY
HOME

A VR scene you can walk into from your browser — no headset needed to look around. Every line was drawn in mid-air and keeps the weight and direction of the hand that made it.

 ENTER THE SCENE → OPENS IN THE BROWSER · VIVERSE Walkthrough video — coming here 

SPATIAL
SCENES IN VR

“The Living Margin” (2025) — a spatial scene shown both inside the gallery and outdoors in passthrough mode. “Ptič” — a character from the XR scene of “The Monsters We Carry” (2026) — began as a mixed-reality spatial study.

The Living Margin — passthrough, Knez Mihailova

Passthrough on Knez Mihailova, Belgrade

The Living Margin — passthrough, Kalemegdan gate

Passthrough at the Kalemegdan gate

In the gallery, headsets on

DRAWING VR
LESSONS

I have been teaching painting, drawing and composition privately for seven years. Cultivating spatial thinking through 3D drawing practice — a method built on that academic training. Workshops and courses for adults and children, developed together with the VR IN Gallery team. Free trial lesson; courses from €22.50 a session.

BOOK A CLASS →

FOR GALLERIES
& FESTIVALS

 AR layers ship as a QR sheet with the work; VR scenes need one headset and about two square metres. Technical sheet on request. REQUEST THE XR SHEET → 

XR &NEW MEDIA

THE MONSTERSWE CARRY

AR ON THECANVAS

THE WAYHOME

SPATIALSCENES IN VR

DRAWING VRLESSONS