01
Synthetic archives and parafiction
How can institutional tone, documentary form, and material evidence make invented histories temporarily believable?
Research and collaborations
Technology as subject, system, and creative partner.
My research connects surveillance, propaganda, machine vision, generative media, and human-machine co-authorship. It develops through physical installations, traditional studio practice, moving image, software, sound, and browser-based works rather than through one medium or one project alone.
Research lenses
02
Machine vision and operational images
What changes when images are produced for systems that detect, classify, target, and act?
03
Propaganda and psychological influence
How do technologies presented as safety, convenience, or communication normalize surveillance and behavioural control?
04
Human-machine collaboration
How do authorship, embodiment, responsibility, and creative agency change when human intention meets probabilistic systems?
Methods
Practice-based inquiry across art, theory, and technical construction.
Research takes form through objects, installations, writing, software prototypes, moving image, sound, and sustained collaboration.
The theoretical field includes parafiction, simulation, propaganda studies, psychological warfare, machine vision, media archaeology, automatism, and posthuman accounts of collaborative agency.
Selected collaborations and research activity
2025
Video and Media Design (AI-generated video), The Kiss by Roland Schimmelpfennig, performed by Maev Beaty and Eve Egoyan, directed by Brendan Healy, BMO Lab, University of Toronto
Video and Media Design (AI-generated video), The Kiss by Roland Schimmelpfennig, performed by Maev Beaty and Eve Egoyan, directed by Brendan Healy, BMO Lab, University of Toronto
2025
Research Intern with David Rokeby, BMO Lab for Creative Research in the Arts, Performance, Emerging Technologies and AI, University of Toronto; funded by the Keith and Win Shantz International Research Scholarship
Research Intern with David Rokeby, BMO Lab for Creative Research in the Arts, Performance, Emerging Technologies and AI, University of Toronto; funded by the Keith and Win Shantz International Research Scholarship