My name is Ksenia, and my work brings together animation, multi‑technique motion design, stage and installation concepts, and live performance as a VJ, LED‑screen mapper, pixel‑motion designer, and projection‑mapping artist. I work across all music genres, study each project’s audience and context, and develop visuals that are thoughtful, tailored, and technically precise for every stage, screen, or event.
Here you’ll find a selection of my projects — only a small part of what I’ve created over more than 10 years in the field.
Part 1. Remote Content
DNB Allstars (UK)— Remote Creation of a Full Halloween VJ Pack
For the DNB Allstars Halloween event series in the UK, I was commissioned to turn a single static poster into a complete, performance‑ready VJ pack. The goal was to preserve the original graphic identity while expanding it into a flexible visual system suitable for different stages, DJs, and set dynamics.
I built the pack as a layered structure that gives VJs full control during live shows: dynamic loops, slow atmospheric loops, strobe elements, BPM‑driven accents, alpha‑channel objects, animated logos and name tags, and a set of textures for additional depth. Every loop was delivered in 4K, ensuring clarity on large LED setups.
The production was done mainly in Cinema 4D and After Effects. To speed up the workflow, I selectively used stock elements, heavily modifying them to match the event’s branding and the Halloween aesthetic. The final result was a cohesive, high‑energy visual toolkit that could be mixed, layered, and adapted to any drum & bass set.
If you need a large, themed VJ pack for your event series, I can create it from scratch using only your poster or a reference image — transforming a single visual into a full performance‑ready system.
Remote Creation of a VJ Pack for Forbidden Forest Festival (UK)
For the Forbidden Forest Festival in the UK, I was commissioned to create a custom VJ loop pack tailored for an unconventionally shaped LED screen. The project had a tight turnaround, so efficiency and creative adaptability were essential.
After researching the festival’s visual identity and its woodland‑inspired atmosphere, I developed a series of nature‑themed loops designed to blend seamlessly with the event’s forest setting. Each loop was delivered in multiple color palettes, with and without the festival logo, as well as alpha‑channel versions to give the VJ maximum freedom for layering and improvisation during the live show.
Because the festival runs both day and night, I created two distinct visual sets:
– Daytime loops — bright, light, and vivid, designed to counteract the washed‑out look of the LED screen under direct sunlight and avoid the appearance of a dull grey surface.
– Nighttime loops — darker, high‑contrast visuals that prevent overexposure and create the illusion of an illuminated 3D forest environment, making the screen feel like an organic extension of the rave location.
This dual‑approach ensured the content remained visually impactful and immersive throughout the entire festival, regardless of lighting conditions.
2025
Alemao Promo — Remote Creation of a Unified Graphic & Motion Series for Greek Techno Events
I collaborated with Alemao Promo, a techno event group from Greece, on a series of graphic and motion design works created in one cohesive visual style. Our collaboration began with a single animated poster.
The client specifically asked me to create it in the aesthetic of the personal animations I publish on my own.
This was a perfect creative match, so I offered a significant discount despite the time‑consuming nature of this style. If you want to commission something based on my existing works as references, it will always be more cost‑efficient for you.
The Starting PointThe first poster set the tone for the entire collaboration.
Along with the animation, I delivered a full set of static stills in multiple formats: ticket layouts, header formats, square and vertical posts, and other social‑media‑ready compositions.
As a bonus, I also provided several looped animation files that could be used as VJ loops during the event. This helped unify the visual identity across both social media and the stage environment, creating a consistent aesthetic from promotion to the actual rave.
After the success of the first poster, we continued working together on additional pieces:
– a second poster for another event, created in the same stylistic direction
– a podcast cover, for which I produced a wide range of visual options
The client selected the direction closest to their taste, and we refined it into a polished final artwork.
2025
Lyric Video for 5# feat. Gryaz’ — “Holivar”
For the track “Holivar” by 5# featuring Gryaz’, I created a full lyric video combining abstract 3D visuals with animated typography. The project had a very limited budget, so the visual approach relied on abstract forms, repetition, and minimalistic motion — but I ensured the overall look and rendering quality remained high by working in Cinema 4D with Octane Render.
The text animation was kept intentionally simple and clean, created in After Effects, allowing the lyrics to integrate naturally with the shifting 3D environment.
Within the abstract shapes, I subtly embedded insect‑like elements, horns, teeth, and other intentionally unsettling forms. These details were designed to reflect both the aggressive tone of the track and the emotional context behind it. The song expresses strong rejection of the Belarusian dictator Alexander Lukashenko, and the disturbing organic motifs helped reinforce this tension without becoming literal or illustrative.
Despite the constraints, the final video delivered a dark, atmospheric aesthetic that matched the genre and amplified the message of the track.
Graphic & Motion Series for Tate Sedar (USA)
This remote project included several tasks built around one visual idea. I created a 3D ridge animation — a trending style that year — customized in shape and color to match the photos Tate Sedar sent me.
The animation was then composited into multiple photos of the musician in different poses, producing a series of consistent static and animated posts for social media.
Based on the same 3D setup, I also created a VJ pack with ridge structures in different positions, quantities, and motion variations, plus additional abstract elements rendered with the same lighting and settings for a unified look.
The 3D animation was made in Cinema 4D, and all photo composites and social formats were assembled in After Effects.
2025
SCHIDLITZ — Full Visual Direction for a Techno Project in Gdańsk
SCHIDLITZ was a techno event series planned for the underground club CzudnerSpot in Gdańsk. The project was conceived as a multi‑event initiative, which required a complete visual identity, a conceptual foundation, and a long‑term content strategy. I handled the full visual direction — from the philosophical idea to the graphic system to the stage concept.
Concept: “Embrace the Absurd” Meets Industrial Aesthetics
The core idea combined a philosophical theme — “Embrace the Absurd” — with raw industrial motifs. This mix shaped the entire identity of the project. I developed a full set of branded elements: logos, typography, poster series, backgrounds, stickers, social media templates, and reels. The goal was to create a recognizable, slightly surreal visual language that could evolve across multiple events.
Graphic System & Social Media Content
For the launch, I produced a complete package of visual materials:
– animated and static posters
– header formats, tickets, and social media layouts
– a series of reels and short-form animations
– a consistent set of brand textures, symbols, and graphic accents
All assets were designed to work together as a unified ecosystem, making the project visually strong both online and offline.
Stage Concept Under Real Constraints
Beyond digital content, I also developed a stage design concept tailored to a very limited budget and the logistical challenges of working with the venue. The production process was complicated by the tense political relationship between local Polish communities and newly arrived Belarusian immigrants — a factor that affected communication, rental logistics, and overall coordination.
Despite these constraints, I created a feasible staging plan that aligned with the project’s aesthetic and could be executed with minimal resources.
Unfortunately, the social and political tensions surrounding the venue were underestimated, and the project was discontinued after the first event. Nevertheless, the visual system, concept, and staging plan remain a strong example of how a full identity can be built around a philosophical idea and adapted to real-world limitations.
2024