My foundation is art history — a discipline that trains the eye to read objects: their construction, their period, the hand and intention behind them. Alongside scholarship, I spent years working across CGI, graphic design, photography, and video, developing a visual sensibility that formal academia rarely provides. These two tracks ran in parallel for a long time. It was the study of 3D — pursued with the rigour of a second degree, through extensive professional training — that finally brought them together. As a 3D Generalist, I found the language that art history alone could not give me: the ability not only to analyse an object, but to rebuild it from within.
For a long time I moved between disciplines without a fixed destination — and I no longer consider that a detour. It was precisely that breadth which made the direction, when it finally appeared, feel inevitable. The question that came to occupy me was not what had survived the centuries — but what had not. Objects documented in inventories, photographed once, then lost to revolution, dispersal, or silence. I came to believe that the absence of an object is not the end of its existence. It is an invitation to reconstruct it — with full scholarly rigour, and with the tools that now, for the first time, make that possible.
Today, Heredis Atelier GmbH operates as a specialist studio headquartered in Zug, Switzerland , working at the intersection of cultural heritage digitisation , high-end jewellery CGI , and institutional research. Alongside the studio, the Verein Legacy Digitalis provides the academic and archival foundation that makes our reconstructions possible. Both structures are family-owned — and built to remain so.