From 2004 to the present, my practice has developed through a trajectory of practice-based research. In its early phase, I approached the city as a psychological landscape, building an affective archive through hand-drawn works. From 2013 to 2017, I began to examine “new media” within its historical conditions, integrating media archaeology as a research methodology for artistic practice. Between 2017 and 2019, my focus shifted toward computational aesthetics and generative perceptual systems, translating time, data, and algorithms into perceivable spaces while interrogating the algorithmic conditions that shape contemporary image aesthetics. Since 2020, my work has further concentrated on the ecological ethics and immersive dramaturgies of the Anthropocene and the post-digital, positioning found marine debris, biological fossils, and site-specific environments as forms of material agency that co-shape audience experience together with computational systems.

My practice seeks to enact an “Archaeology of the Future.” Through media-archaeological inquiry, contemporary technological exploration, and critical making, I excavate forgotten lineages of human experience and technics, as well as possibilities that depart from normative trajectories. I intend, through practice, to propose how—amid the predicaments of the post-digital and the Anthropocene—ecology, art, technology, and algorithmic systems might be reimagined, perceived, created, and extended.