“Working 9 to 5 (Perpetual Office)” captures the rhythms of contemporary office existence through a perpetual video loop that distinguishes between standard working hours and after-hours periods. During business time, the piece presents composed shots of office minutiae – typing hands, fluorescent corridors, unchanging screens – accompanied by an internal monologue rendered in floating typography.

As 5 PM approaches, the work branches into various scenarios: sometimes the office powers down, while at other times the worker remains, caught in overtime limbo. The installation employs subtle repetition and variation, where similar actions recur but never exactly repeat. An iPhone-style clock persistently marks time, highlighting the gap between measured and experienced time in corporate environments where the boundary between human and system increasingly blurs.

“Infinite Runner” translates the mobile endless runner genre into a gallery-situated interactive experience that maintains the core mechanics of games like Subway Surfers while extracting them from their native context. Visitors encounter a playable installation where their engagement produces a perpetual forward movement through an infinite digital landscape that never reaches resolution or conclusion.

The piece examines how gamified mechanics restructure our relationship to time and progress – creating a sensation of movement and advancement that ultimately leads nowhere. By relocating these interaction patterns from private mobile devices to the public gallery space, Lund transforms solitary consumption into collective spectacle. The work functions as both critique and embodiment of digital capitalism’s promise of endless progress, revealing the fundamental tension between temporal experience and algorithmic infinity.

“Abstract Feed” deconstructs social media’s addictive scroll mechanism, maintaining the familiarvertical interface while populating it with an endless stream of algorithmically transformed imagery. The piece presents a continuous feed where the recognisable figures and faces of influencer culture undergo digital transmutation, dissolving the boundary between representation and abstraction.

Each “post” in the feed offers visual arrangements where human forms and consumer products disintegrate into fields of colour and texture, creating compositions that hover between glitch aesthetic and deliberate design. The work examines both the hypnotic quality of infinite scroll mechanics and the increasing abstraction of digital identity itself, where the human image becomes raw material for algorithmic manipulation. By presenting social media’s familiar interaction patterns while transforming its content into abstract visual poetry, the piece reveals the underlying psychological architecture of engagement while offering an alternative mode of consumption – one that privileges visual contemplation over identifiable content.

“Study Work Relax” subverts the familiar format of lo-fi study beats videos that have become the unofficial soundtrack of digital productivity culture. Initially presented as a conventional lo-fi environment with gentle beats and comforting visuals, the piece gradually accumulates layers of digital interference – productivity metrics, achievement notifications, and wellness reminders that transform the meditative space into an anxiety-producing performance of relaxation.

These interruptions, styled as iOS notifications, demonstrate how contemporary technology reframes relaxation as another task to optimise and quantify. Messages like “Your peace metrics are below target” and “Upgrade to Premium Zen™” expose the commodification of tranquility in late capitalism. The persistent clock display serves as a reminder of time’s marketisation, even in moments intended for escape from productivity demands. Through this gradual accumulation of digital anxiety, the work examines how the attention economy has colonised our attempts at finding peace, transforming even our moments of rest into opportunities for optimisation and consumption.

“Completed Upon Purchase” functions as both catalog and conditional promise – a slideshow presenting 70 conceptual proposals awaiting activation. Created as an edition of five, the work transforms the commercial transaction into a creative decision point that implicates the collector in the work’s final realisation. Upon acquisition, each collector selects one concept from the remaining pool, which is then removed from options available to subsequent collectors. This selection triggers the concept’s manifestation, with the collector becoming an active agent in determining which ideas cross the threshold from potential to actualisation. The concepts span institutional interventions, data-driven installations, web-based works and physical sculptures – each containing its own examination of art world mechanisms, technological systems or social structures. Through this process, Lund questions where value resides in contemporary art – in the idea itself, its physical manifestation, or the decision making process that connects these states – while simultaneously exposing the market dynamics that determine which concepts materialise and which remain in the realm of speculation.