Saša Desančić — Anomalia 

3D Character & Props Artist · Belgrade, Serbia 

My name is Saša Desančić. I work under the name Anomalia — a nod to The Matrix trilogy, and specifically to the idea of the anomaly. The name stuck with me not as a sci-fi reference, but because of the idea behind it — that anomalies aren’t just errors or outliers; they’re often how systems evolve and find new directions. There’s something genuinely beautiful about that, especially in moments of difficult and inevitable change. It felt like an honest name. 

I grew up before the internet, before CGI was something you could just open on a laptop. I watched that the whole world develops from the outside — from early VFX in films, to real-time graphics in games getting sharper every few years. There was something about being a witness to that shift that made it feel significant when I finally stepped into it myself, in 2019. 

Before CGI, I spent years working with my hands — studying sculpture and wood carving at the School of Applied Arts in Šabac, then working in the furniture industry. Stone, wood, clay, glass. That background didn’t leave me when I moved to digital. If anything, it made the transition easier. Topology, volume, silhouette — these aren’t abstract concepts when you’ve already worked them out in three physical dimensions. 

I work primarily on characters, creatures, and props for games — real-time assets built for actual production pipelines, not just portfolio renders. I care about geometry that holds up, textures that read well in-engine, and budgets that don’t create problems downstream. 

In terms of what draws me creatively — I gravitate toward darker and more grounded worlds. I’m more at home in the moral complexity of Martin’s world than in Tolkien’s. Star Wars has been a constant for me since the beginning — not just the universe, but the design language behind it: that worn, analog, almost industrial aesthetic that came out of people building props with whatever they had in the 1970s. Andor is the clearest example of where that sensibility goes when it grows up. Giger sits somewhere nearby — different in every way but sharing that same quality of technology feeling organic and slightly wrong. I’ve also spent more time than I’d like to admit digging into pre-Christian Slavic mythology. These things find their way into work. 
 
Based in Belgrade, Serbia | Available for Freelance · Remote 

Contact anomalia@anomalia-artist.com