It all started with a camera.

I got my first one in high school, and I loved taking photographs and making documentaries. A camera can keep light, but only what falls inside the frame. Everything outside it is gone.

That led me to UCL, where I studied media, film and games. Later I found I was more interested in interactive media, so I moved into it, and began my art practice at Arebyte Gallery in London. The works I showed there were about emotion, something everyone feels and no one can hold.

There are many things in the world we cannot touch: a cloud, a memory, moonlight. We live with them every day, and still they slip through our hands.

My practice simulates what we cannot hold or control. It connects the body with memory and feeling, and from that it makes emotion, understanding, and a moment of noticing how we come to know anything at all.

Some of my works turn weather and emotion into something you steer, so a feeling reaches you through your hands.

Others look outward, to the night sky and to matter no one has ever seen, and let you move what was always out of reach.

Memory came last. With AI, I give a voice to people and places that survive only in archives, and let them fall silent where the record does.

So now I build AI pipelines and the evaluations that test them, and bring my interactive media practice to them, to rethink how people and AI meet. I want this work to help us find the fragments worth keeping, and piece them into a new understanding.