Q4. Your work often explores the relationship between human creativity and machine-generated systems. How do you personally experience the collaboration between yourself and the algorithm? 

I view algorithms as collaborators rather than tools. My role is not to determine every outcome, but to design, structure, and curate the systems, rules, and conditions from which possibilities emerge. The process functions as a dialogue: I establish a framework, observe how the system responds, and refine it over time. The algorithm contributes variation and unpredictability, while I provide intention, context, and critical judgment. In this way, creativity becomes an interaction between human intuition and computational processes rather than an act of complete control. 

Q5. In works such as Algorithmic Genome, MELTING, OceanLung, and Breezy, there is a strong sense of transformation, emergence, and the connection between organic and synthetic forms. What ideas or emotions do you hope viewers experience when encountering these works? 

I hope viewers experience curiosity, reflection, and connection. While each project explores different themes and technologies, they collectively examine how humans relate to increasingly complex technological, environmental, and material systems. In Algorithmic Genome, I explore how computational processes generate forms that resemble natural growth and adaptation using particle systems, procedural behaviors, and generative structures. I hope audiences feel a sense of wonder about the parallels between biological and computational systems and how complexity can emerge from simple rules. With MELTING, I use a zero-waste knitwear system and water-soluble embroidery that gradually dissolves and reshapes the garment to explore transformation as a metaphor for memory, impermanence, and adaptation. OceanLung and Breezy both use breathing as an interface between the body and technology. OceanLung translates ocean deoxygenation data into a physical breathing experience to foster empathy for marine ecosystems, while Breezy transforms respiratory training into an engaging interaction that supports children’s wellbeing through participation and emotional connection. Together, these works invite reflection on the boundaries between natural and artificial systems and how emerging technologies can deepen understanding, empathy, and awareness of our relationship with the world. 

Q6. Many of your projects blur the boundary between the natural, the artificial, and the post-human. Why is this boundary important to you as an artist? 

I believe the boundary between the natural and the artificial is becoming increasingly blurred as technologies such as artificial intelligence, wearable systems, and responsive materials become embedded in everyday life. My work explores this convergence through projects such as Post-Human Bloom and OceanLung, which combine biological inspiration, computational design, and physical interaction. OceanLung specifically uses a modified respirator to examine how humans, technology, and the environment increasingly shape one another. Through these works, I hope to encourage reflection on emerging forms of coexistence in a technologically mediated world.

Q7. Your works have been exhibited internationally in places such as Paris, Venice, New York, London, Budapest, South Korea, and Italy. How has this international exposure influenced your development and confidence as an artist? 

International exhibitions have been incredibly meaningful because they have allowed my work to engage with audiences from diverse cultural and professional backgrounds. Exhibiting at venues including the Carrousel du Louvre and Halle des Blancs-Manteaux in Paris, Palazzo Albrizzi-Capello in Venice, Artexpo New York, Golden Duck Gallery in Budapest, the CICA Museum in South Korea, Matera Casa Cava in Italy, and galleries in London demonstrated that the ideas explored in my work resonate across different cultural and geographic contexts. Audience responses to themes such as human-machine collaboration, ecological awareness, and technological transformation have reinforced the global relevance of my work. Presenting internationally has provided exposure to diverse perspectives and expanded the scope of my practice. This recognition has strengthened my commitment to interdisciplinary work across art, design, science, and technology, demonstrating that such projects can contribute meaningfully to contemporary cultural discourse and engage global audiences. 

Q8. You have received recognition from several major international design awards, including the Red Dot Design Award, iF Design Award, International Design Awards, Creative Communication Awards, and Grand Prix du Design Paris. What does this recognition mean to you personally and professionally? 

Professionally, these recognitions have validated the value of interdisciplinary work that combines design, technology, research, and creative experimentation. What is particularly meaningful to me is that each award recognized a very different type of project. MELTING received the Red Dot Design Award for its exploration of material transformation through a zero-waste knitwear system, Breezy received the iF Design Award for reimagining respiratory training for children, OceanLung was recognized by the Grand Prix du Design Paris for translating ocean deoxygenation data into an embodied environmental experience, Sofar received recognition from the International Design Awards for exploring human connection through interactive furniture, and iTranquil — Beyond Driving received the Creative Communication Awards for reimagining the vehicle as a digital wellness ecosystem in collaboration with BMW Group and the Jacobs Institute for Design Innovation. These awards across sustainability, healthcare, mobility, and interaction design demonstrate that impactful innovation emerges at the intersection of disciplines. They have also increased the visibility of my work within international design and global communities.