My practice sits at the intersection of speculative design, critical research, and technical making. Rather than beginning with a solution, I start with a question — usually one about systems, dependencies, or the conditions under which we interact with technology. The work that follows is an attempt to make those questions tangible.
Research and making happen together. I read widely — across automation theory, interface criticism, philosophy of mind, and media history — but I'm drawn to ideas that can be materialised rather than just argued. If a concern can be built into an object, a system, or an experience, it tends to carry more weight than a written position alone.
Much of my process involves identifying a moment of friction and designing around it deliberately. I'm interested in what gets smoothed over in the design of everyday technology: the effort that gets hidden, the dependency that gets framed as convenience, the cognitive weight that shifts without acknowledgement. Making that friction visible — or reintroducing it where it has been removed — is often where a project begins.
Prototyping is iterative and often material. I work across electronics, fabrication, code, and interface design, and I treat each medium as having its own logic rather than as interchangeable outputs. A circuit and a piece of software ask different questions of the designer. Moving between them keeps the thinking from settling too early.
I work heavily in real-time environments — TouchDesigner, Processing, the browser — and in live coding contexts like Strudel.cc. These tools share a quality I find useful: they reward improvisation and make failure immediate and visible. There is no long compile cycle between an idea and its consequence. That immediacy changes how decisions get made.
Sound sits alongside image throughout most of my practice. Whether composing for generative systems, building audiovisual pieces, or performing with modular synthesis, I approach audio not as a finishing layer but as a structural element from the start. Music and interaction share a lot of the same underlying concerns — pattern, timing, response, memory — and moving between them keeps those concerns sharp.
The work tends not to resolve neatly. I am more interested in exposing a tension than in releasing it. A finished piece should leave the viewer with a slightly more uncomfortable relationship to its subject than before — not hostile, but unsettled. That is where the interesting conversations begin.