Statement

My work is an investigation on the possibilities of expressive digital imagery in an increasingly technical and automated world. Rooted in aesthetic theory, my practice explores how artifice, immateriality, and computational processes reshape the conditions of image-making. I consider the digital image in relationship to the phrase “technical images” coined by philosopher Vilem Flusser in which photography and mechanical reproduction heralded new forms of perceptual experience and knowledge. We are living in a digital age of the ‘elite technical images’ where sophisticated software, algorithmic processes, and hardware systems mediate perception, knowledge, and even memory.

Within this landscape, I treat the digital image not as a passive output of technology but as an active field of construction shaped by scientific data, simulation, and the abstractions of mathematics and physics. These technical and theoretical sources often become raw material in my work, informing its visual language and conceptual structure. I am interested in how these systems generate new aesthetic possibilities, and how their operations influence the way we understand the contemporary world.

A phenomenological dimension emerges in many of my time-based works. Through looping structures, slow pacing, and the use of relative stillness, I place viewers in temporal conditions that depart from natural rhythm. These durational strategies create a sense of temporal suspension, inviting reflection on perception, repetition, and the elasticity of time. Light, too, functions as both subject and material; algorithmically generated illumination becomes a means of shaping atmosphere, space, and affect within digital environments.

What often emerges within the work is the sublime and the surreal — not as illusions of reality, but as qualities arising from the convergence of computation, abstraction, and virtuality. I am drawn to the threshold where representation becomes unstable: where simulation points beyond itself, where digital systems reveal their own logics, and where the viewer encounters something at once constructed and transcendent. Although my works engage with ideas of simulacra, they resist mere replication, instead using digital processes to carve out new formal and perceptual terrains. I seek to articulate how technical images shape contemporary experience, and how digital systems can be wielded expressively to create environments that are at once conceptual, sensory, and speculative.