“My artistic practice has always been guided by a fundamental curiosity: how do we perceive reality, and how much of reality remains invisible because of the limitations of our senses?”
My work is transdisciplinary because it occupies the borderlands between visual art, empirical observation, and philosophy. It investigates how matter organizes information and whether nature contains forms of perception that bypass biological sense organs.
The research began unexpectedly. While creating installations involving water, glass, light, and color, I discovered recurring visual phenomena captured within my photographic documentation. What initially seemed like a technical anomaly evolved into a systematic, multi-year investigation into the conditions under which these forms emerge.
Among these observations, the most striking involved instances where scrying photography captured visual configurations that later manifested directly in my actual life—providing precise visual prefigurations of future events before they occurred. These results challenged the boundary between the observer and the observed, suggesting that water can act as an active mirror for non-local information.
Rather than claiming a solved mechanism, my work proposes a hypothesis: awareness, intelligence, and information-processing qualities may not be limited exclusively to biological brains, but may exist in subtle, distributed forms.
Art has historically served as an exploratory tool for realities before formal science has the vocabulary to name them. By using photography and installation as instruments of inquiry, my practice invites a dialogue between disciplines—using the rigor of documentation to explore the outer edges of perception, and reminding us that reality is far stranger, and more deeply interconnected, than our materialist models suggest.
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