digital play:manifesto_
This is not a portfolio. It’s an evolving field of operations.
The work presented here does not distinguish between art, design, theory, or technology — because it can’t. It operates across systems: visual, symbolic, sonic, architectural, informational. It moves between disciplines because meaning today is generated between them.
Two trajectories coexist: One is anchored in traditional processes — drawing, etching, print, the hand that insists on matter.
The other is digital-native — installations, data aesthetics, sound, theory-driven media, designed to be unstable, modular, open-ended.
Both aliases belong to the same logic: experimentation as method. Not trial-and-error. But play as a mode of thinking. A strategic misuse of tools, languages, formats.
The work is influenced by vintage computing aesthetics, 80s pixel logic, early electronic interfaces, fragmented type, noise. London. Machines that tried to dream.
There is no separation between concept and form. No hierarchy between disciplines. This practice understands making as cognitive performance, composition as critical proposition, and visuals as relational systems that act, not represent.
You’re not browsing works.
You’re navigating signals — prototypes, models, fragments of larger ideas and loads of layers.
This is not about me.
It’s about what happens when ideas are exposed.
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