My practice explores perception as an unstable interface between the self, technology, and the environment. Mapping a deliberate conceptual arc of moving from the outer environments we observe to the internal environments that observe us.
My research is structured across three scales of observation:
_External: I examine how technological mediation alters our perception of the natural world, often rendering it as a data set rather than a living entity.
_Ecological: I investigate the interplay between analogue and digital media to render environmental fragility legible. By proposing a sustainable dark-room methodology utilizing non-toxic chemicals and reduced-waste photochemistry, I challenge the "throw-away" culture of digital media and foreground the physical cost of the image.
_Internal: Drawing on personal experiences of sleepwalking and lucid dreaming, I use Virtual Reality and live audiovisual performance to translate private inner landscapes into shared, immersive environments. Sleepwalking is a "glitch" in human processing, moment where the body moves without the conscious "user" at the controls. By using VR to map these states, I'm creating a bridge between the biological dream and the digital simulation. I'm suggesting that our inner lives are just as "unstable" as the software I run on.
Technology often treats the natural world as a library of assets to be indexed. It sees a forest as a collection of coordinates and metadata, I want to reclaim that forest as a living entity. My work is an attempt to re-wild the data set.
My darkroom methodology reintroduces scarcity. In the virtual world images are infinite and weightless. By using non-toxic, slow-process photochemistry, I am giving the image a "body" again. If an image doesn't have a physical cost, we stop valuing the thing it represents. It’s a protest against the "delete" button.
What defines my work is the collapse of the observer/observed binary. Heavily influenced by quantum physics and behavioural psychology, my installations function as perceptual laboratories. Treating perception itself as a physical material, I attempt to push an interpretation of visual and immersive works as both an ecological and psychological responsibility. How we look at the world is as vital as how we live within it.