I am interested in combining analog and digital processes to build game environments that explore the uncertainty of digital imagery in an increasingly technological world. I scan handmade assets into game engines to create immersive environments that interrupt the illusion of digital seamlessness and neutrality. The handmade enters the digital space as a trace of touch, labor, and bodily presence, disrupting the smooth authority often associated with technological images.
In an oversaturated image economy, and with AI becoming increasingly present in image-making, I am drawn to the question of what role the handmade, the imperfect, and the human still hold. My work emerges from the tension between human and digital processes, reflecting how deeply merged they have become in contemporary life. I am interested in the hyper-polish of game environments, the digital manipulation of embryo imagery, and the way cameras and medical technologies frame the womb as something to be observed, controlled, and made legible. Through the collision between handmade and digital materials, I question the false neutrality of technological systems and the authority of the images and environments they produce.
Worldbuilding is a central part of my practice. I am interested in the intentions of the author or developer, the relationship between player, controller, avatar, and camera, and how interactive systems shape the way we move through virtual space. Rather than treating games and worldbuilding as entertainment or pure escapism, I use them as immersive environments that create discomfort, uncertainty, and self-awareness within the player.
Through feminist frameworks, I think about the digital world as both a space of freedom and a space of restriction. My work questions how game environments can offer escape, agency, and worldmaking while also revealing the systems of control embedded within them. I am interested in whether the player is truly in control, or whether their movement, perception, and choices are being shaped by the code, the camera, and the structure of the game itself.
The camera is especially important in my work. It is not a neutral viewpoint, but a force that directs attention, frames experience, and shapes the player’s understanding of space, power, fantasy, and embodiment. It can guide, surveil, restrict, and destabilize the player. Through this, my work reveals that virtual freedom is often built through hidden systems of control.
