I am a transdisciplinary artist and researcher whose practice exists at the intersection of sound, feminist technology studies, and the design of spatial multimedia environments.

With a background in musical performance, composition and computational systems, my practice has gradually evolved from more traditional time-based sonic work into also encompassing installation-based environments where sound functions as a material presence in space.

Central to my practice is the construction of systems that translate environmental, material or computational processes into sensory experiences. I am particularly interested in forms of perception that remain inaccessible to direct human experience: ultrasonic emissions, environmental transformations, microbial presences, geological processes or invisible dimensional relationships. Through custom-built software, sensing technologies and audiovisual structures, I design systems in which sound, image and material processes emerge from a single underlying logic process. These systems function as environments rather than representations: they do not illustrate these phenomena, they create conditions through which audiences can physically encounter them.

I am driven by this consistent question: how can artistic systems not only represent reality, but actively produce new modes of sensing and relating to it?

A recurring methodology within my practice is intermedia translation: the transposition of information from sensory domain into another. These are not intended as faithful representations, but as generative processes allow materials and environments to don new perceptual forms. Across projects, data may become sound, sound may become image, and spatial behaviour may emerge through interaction. Perception is made unstable, layered and, above all, relational.

By allowing audiences to modulate the space around them, my practice reinforces the idea that engagement passive, but potentially world-forming. Audience presence is often part of the work itself: proximity, sound intensity or movement continuously influence audiovisual behaviour, allowing environments to shift between different states according to how they are inhabited. Some interactions produce immediate visible changes while others develop more gradually, combining in an interplay between states of balance, saturation or collapse.

My background in sound and computational systems strongly informs the way I construct installations. I work technologies such as hydrophones, ultrasonic microphones, biosensors, LIDAR scans, environmental DNA datasets, microscopic cameras and live video feeds. These are combined with sound composition, moving image, field recording and interaction design to construct responsive systems that evolve over

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