I combine analog and digital processes to build game environments that explore the instability and constructed authority of digital imagery. By scanning handmade paintings, drawings, prints, and sculptural objects into game engines, I create immersive worlds that interrupt the appearance of digital seamlessness and neutrality. Within these environments, the handmade remains visible as a trace of touch, labor, imperfection, and bodily presence, disrupting the polished authority often associated with technological images.
In an oversaturated image economy, as artificial intelligence becomes increasingly embedded in image-making, I question what roles the handmade, the imperfect, and the human continue to hold. My work emerges from the friction between analog and digital processes while acknowledging how deeply the two have become entangled in contemporary life. Rather than positioning them as opposites, I bring them into collision to expose the decisions, exclusions, and systems concealed beneath apparently seamless technological experiences.
Worldbuilding is central to my practice. I am interested in the intentions of the artist or developer, the relationship between player, controller, avatar, and camera, and the ways interactive systems shape how a person moves through and understands virtual space. Rather than treating games as entertainment or uncomplicated escapism, I construct environments that produce discomfort, uncertainty, and heightened self-awareness. The player enters with the expectation of agency but gradually encounters the limits imposed by the game’s code, architecture, perspective, and rules.
Through feminist frameworks, I approach digital space as simultaneously liberating and restrictive. Virtual environments can offer escape, experimentation, and the possibility of constructing alternative worlds, yet they remain governed by systems that direct movement, perception, and choice. My work asks whether the player is ever fully in control or whether their actions are continually shaped by structures they cannot see.
The camera is particularly important within this investigation. I treat it not as a neutral viewpoint but as an active force that directs attention, frames bodies, and organizes relationships among space, power, fantasy, and embodiment. It can guide and empower the player, but it can also surveil, restrict, disorient, and withhold information. The camera becomes one of the mechanisms through which the game determines what can be seen, known, and controlled.
Each of my projects approaches these questions through a different constructed world. Womb World examines how technological and medical images of bodily interiors shape reproductive narratives, transforming the womb into a space that can be observed, interpreted, and controlled. Text Textures destabilizes the distinction between player, avatar, and developer by asking where agency resides when an avatar follows behaviors and impulses encoded into its system. My ongoing project Escapist investigates the habits, substances, technologies, and fantasies people use to withdraw from the pressures of everyday life amid capitalist and political instability. Although the player enters a digital environment organized around the promise of escape, they remain confined to the apartment in which the game is set.
Across these works, I use the tension between immersion and restriction to examine how digital systems construct the experiences they appear merely to present. My environments invite participation while making the player conscious of the forces directing them. In doing so, they reveal virtual space as a site where agency, embodiment, and control are continually negotiated, and where the appearance of freedom is often produced through hidden mechanisms of constraint.
