“An image is not a mere static representation of reality; it is a dynamic process of individuation, wherein both the observer and the observed are continuously transformed.”
“Rather than serving as a simple mirror of the world, an image functions as a mediator—reconfiguring raw sensory data into forms that give rise to meaning.”
—-Gilbert Simondon
Art as a crystallisation of perspectives and a conduit for their articulation, is the focal point of my inquiry into identity and memory—both individual and collective. My practice often originates from the experience of Otherness—encompassing dimensions of gender, ethnicity, race, and aesthetics. This process engenders a revelation of layered meanings surrounding the constructs of desirability and, by extension, undesirability. My exploration critically examines how these constructs influence both the individual psyche and societal frameworks, unraveling the complex interplay between subjective perception and collective norms.
Deeply influenced by my cultural background represented by Noh theatre and its philosophical dimensions, I began my artistic exploration with installation art, using space and materials to create immersive experiences that invited the audience to engage with my work physically and conceptually. This installation-based practice laid the foundation for my later ventures into video, a medium that would become central to my artistic journey. Video’s ability to convey layered narratives and capture the interplay of time and movement became instrumental in shaping my approach to visual discourse and communication. This engagement with time-based medium laid the groundwork for my subsequent projects in CD-ROM and net art, and later interactive audio-visual performances, infusing these newer media with the sensibilities and insights I had developed through my foundational work.
My Approach to Video Art
Since the mid-1990s, my practice has been defined by an ongoing investigation of moving imagery as a medium through which to articulate a distinctive artistic trajectory. My work frequently operates at the intersection of visuality and sonic experimentation, integrating electro-acoustic music and experimental sound collages to foreground the primacy of non-verbal expression. This synthesis of visual and auditory elements constitutes a critical inquiry into their relational dynamics, exploring how these modalities either align with or subvert visual narratives within time-based media frameworks.
The aesthetic foundations of my work are deeply anchored in the experimental ethos of the electronic art movements of the 1970s, a period characterised by radical engagements with emergent technologies. The influence of this era is manifest in my continuous exploration of image manipulation and my sustained engagement with contemporary technological innovations. My practice resonates with the pioneering spirit of artists who, in their engagement with electronic media, sought to redefine the parameters of artistic production and reception.
However, my work transcends mere homage to the technological advances of the 1970s. While these innovations serve as a critical reference point, my approach is not predicated on a linear progression of technological refinement. Instead, I employ these historical techniques as a means of addressing my life-long inquiry into thematic concerns through visual narratives that are emblematic of my personal aesthetic vision. My practice thus transitions from an exploration of technology per se to a deeper phenomenological investigation into the possibilities of visual storytelling.
This engagement with video art is not confined to the medium itself but extends into adjacent domains such as interactive media and generative AI. By incorporating the conceptual and technical principles developed in my video art practice, I expand my inquiry into these emergent fields, allowing for a critical recontextualisation of multimedia interaction within new technological paradigms. This interdisciplinary approach enables me to engage with the potentialities of AI-driven and interactive art forms while preserving a coherent connection to the aesthetic principles that underpin my work.
My Approach to Interactivity
My fascination with interactivity starts with a personal memory of the fleeting ripples generated by a skipping stone or the transient resonance of wind chimes, evoking reflections on how one action inevitably triggers another, revealing a chain of subtle, unfolding connections. These experiences are situated within a broader intellectual lineage, drawing inspiration from figures like Max Eastley, whose kinetic sculptures embrace the stochastic forces of nature, and George Lewis, whose interdisciplinary work at IRCAM exemplifies a dynamic synthesis of sound and image in real-time. These influences underscore an aesthetic inquiry into resonance, randomness, and the performative nature of interaction.
Beginning with CD-ROM art in the mid-to-late 1990s during the nascent phases of digital multimedia, my trajectory through interactive media reflects an ongoing dialogue between technological invention and artistic exploration as I investigate and articulate the emergent possibilities of interactivity as a mode of artistic engagement. The subsequent integration of the Internet as a ubiquitous infrastructure in the late 1990s and early 2000s facilitated my transition into net art, wherein the web was not merely a medium but a conceptual space replete with discursive potential. My projects from these periods aimed to destabilise the ontological boundaries of traditional art by foregrounding user participation as a constitutive element of the work. This praxis also functioned as a critique of institutional mediation, by subverting the conventional hierarchies of curation in order to establish a direct and immediate connectivity between the artwork and the audience.
In recent explorations, I have engaged with gestural interfaces as a means of reconfiguring the corporeal relationship between the artist and digital systems. By incorporating devices such as the Wii controller, Kinect, Leap Motion, and Myo armband, my practice extends into the realm of embodied interaction, in which physical gestures are algorithmically transposed into dynamic audio-visual outputs. This approach highlights the continuous convergence between bodily motion and digital representation, disrupting the dichotomy between the organic and the artificial.
My Approach to Generative AI
The fusion of the organic and the artificial continues as I engage with Generative Artificial Intelligence (AI) through platforms such as Midjourney, Moonvalley, and Runway, positioning these AI systems as co-creators rather than mere tools. My work critically examines how AI challenges conventional notions of authorship and creativity by dissolving distinctions between human and machine-generated art. This exploration raises deeper philosophical questions about technology’s role in artistic expression, addressing both its ontological implications—what it means for AI-generated works to “exist” as art—and its epistemological impact—how AI reshapes our understanding of creativity. These works probe AI’s capacity to generate emotional and intellectual resonance, underscoring the evolving interplay between human intention and machine-driven outcomes.
In many ways, this builds upon my previous practice in the virtual world Second Life, where the boundaries between the real and the unreal are already blurred. AI-generated art similarly operates within a space of ambiguity, where reality is neither wholly artificial nor entirely human-made. This instability reveals a deeper epistemological tension between rational scientific knowledge, which seeks to define reality through systematic observation, and phenomenological truths, which emerge through experience and perception. AI disrupts these categories by producing works that may appear emotionally or aesthetically authentic yet remain computationally derived. In challenging assumptions about the primacy of human creativity, it also exposes the limits of scientific objectivity in capturing the full spectrum of meaning. My engagement with AI, therefore, often unfolds as an exploration of the mythological, the otherworldly, and the introspective—domains that resist empirical classification. These works suggest that knowledge is not only constructed through logical reasoning but also through imagination, cultural memory, and affective resonance. Through these inquiries, I seek to illuminate how non-empirical forms of knowledge shape our conceptualisation of reality, expanding the discourse beyond rationalism into affective and culturally embedded epistemologies.
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