My artistic research investigates how bodies, technologies and living systems co-create new forms of presence, transformation and coexistence. Working across performance, artificial intelligence, immersive environments and speculative design, I explore artistic practice as a method for understanding relationships that emerge between biological and computational systems, material and virtual realities, human and more-than-human forms of agency.

Rather than treating technology as a tool or an end in itself, I approach it as an active participant in processes of transformation. Artificial intelligence, virtual environments, generative systems and biological materials are not simply media through which artworks are produced, but dynamic environments in which new relationships, behaviours and forms of embodiment can emerge. My projects investigate how these systems influence one another and how artistic practice can reveal conditions that are not yet fully visible within scientific, technological or cultural frameworks.

The body occupies a central position within this research. I understand the body not as a fixed object but as a living interface—simultaneously biological, cultural and technological. Through performance, immersive installations and spatial environments, I examine how embodiment is continuously reconfigured through interactions with digital systems, architectural space, living organisms and speculative futures. Presence, perception and material transformation become interconnected processes rather than separate phenomena.

My practice moves fluidly between artistic experimentation and research. Each project functions as a temporary research environment in which concepts are tested through making, performance and observation. The resulting installations, digital environments, garments and performative situations are not conceived as final outcomes but as evolving prototypes that generate further questions. In this sense, artistic production becomes both a mode of inquiry and a method for producing knowledge.

Recent projects increasingly focus on morphogenesis, co-evolution and biological growth processes. Within the ongoing research platform SYMbiotic Couture, I investigate how generative models developed through artificial intelligence may enter into dialogue with living matter and performative bodies. Rather than designing finished objects, I explore conditions that enable forms to emerge through interaction between computational systems, biological organisms and human agency. This shift from designing artefacts towards designing processes represents a fundamental direction of my current research.

Underlying all of my work is an interest in transformation—not as a visual effect but as an ontological condition. I am interested in moments when boundaries become unstable: between body and environment, organism and technology, material and information, presence and simulation. These liminal states reveal new possibilities for thinking about identity, materiality and coexistence in a world increasingly shaped by ecological and technological interdependencies.

My research does not seek definitive answers. Instead, it constructs experimental situations in which artistic practice becomes a space for negotiation between disciplines, species, technologies and modes of existence. By combining performance, immersive media, artificial intelligence and living systems, I aim to develop new methodologies for artistic research that expand our understanding of embodiment and explore how future forms of life, design and culture might emerge through processes of collaboration rather than control.