MISO








CONTACT
Email:- 648487@proton.me




{ABOUT}



I’m an experimental multidisciplinary artist exploring how we sense ourselves and each other in the world. 
My work investigates the hidden threads between internal experience and collective life — the ways attention, presence, and perception shape not only how we feel, but how we act, respond, and take responsibility. 
I create immersive spaces that ask us to notice the rhythms, tensions, and alignments of our bodies and the world around us — and to confront our complicity in the systems we inhabit.

At the centre of my practice is SIGNAL, a long-term research architecture and experimental laboratory where bodies and environments meet. 
SIGNAL treats the body as a signalling system and the environment as a field of signals, exploring what happens when these signals converge — sometimes in harmony, sometimes in tension. 
It’s a method for understanding how perception, attention, and state emerge through interaction, and for testing how immersive experience can expand awareness of ourselves and our collective responsibility.

Other projects, installations, and interventions feed into and deepen the SIGNAL ecosystem. They act as experimental laboratories, translating research into lived experience and testing how people inhabit, sense, and respond to complex environments. 
These are not separate from SIGNAL; they are its instruments, probes, and reflections, helping the research ecosystem grow, adapt, and respond to real human experience.


Across all of this, my aim is simple: to reconnect people with themselves, with each other, and with the world they inhabit. 
I use science, systems thinking, and sensory design as tools — making perception tangible, subtle, and shared. 
The work seeks to provoke curiosity, attunement, and reflection, inviting participants to step into their own signals, notice the signals around them, and engage with the space in ways that are both perceptual and ethical.



For those curious about the deeper architecture — the sensory pathways, the ecological logic, and the research thinking behind the work — the SIGNAL framework is available to explore.








00 GODOT
...



NAVIGATE GODOT


ARCHIVE: FULL AND PARTIAL RECORDINGS FROM THE PROJECT. 


LONGFORM [Research] READ


GODOT places a fragment of domestic life — furniture and objects — into the open air. Each holds a voice: real words from real people, gathered in the slower seasons of life. Grief. Waiting. Repetition. Memory.

Nothing happens unless someone stops. Step onto the rug, and the nearest voice comes into focus. Step away, and it fades back into the city’s hum. GODOT invites you to slow down — just long enough to feel the rhythm of someone else’s life. It is not interactive. It is not performative. It is a shared pause, if you choose to take it.

GODOT explores temporal friction: the subtle tension between bodies that slow and environments that do not. As we age, or move through periods of illness, solitude, or grief, internal time stretches while the world keeps its tempo. That gap — the differential between inner and outer time — is often where loneliness gathers.

The installation brings this into public view. Domestic objects sit in the middle of the city. Each carries embedded voices: fragments from interviews with people in the later stages of life. These are not performances. They are pauses, breaths, dial tones, moments of waiting.


Archive: (You can listen to full and partial interviews from GODOT’S {ARCHIVE} in the menu too the left)


Interaction Logics

GODOT revolves around one quiet threshold: the choice to stop.

  • Threshold of Intention: the rug functions as a sensory portal. Step into it, and you move into shifting sound fields.

  • Objects as Archive: embedded speakers hold voices unevenly, like memory itself: textured, partial, layered.

There is no central control, no instructions. The architecture simply asks: will you slow down long enough to hear someone else’s time?

Design Logics

Every element is designed to create physiological and emotional resonance through pace and attention:

  • Objects as Archive: each piece carries memory. Objects remember rest, breath, dial tones.

  • Sound as Atmosphere: voices hover like distant thought. Approaching clarifies the nearest voice; competing signals fade. Acoustic intimacy emerges without volume.

The installation forms a porous membrane between private and public time.


Purpose

GODOT is not spectacle. It does not dramatise ageing, nor frame slowness as tragedy. It offers a moment of shared tempo—a chance to feel time when it is no longer hurried. By staging domestic fragments publicly, GODOT invites the city to overhear what it normally misses. Not with pity, but with presence. Not to explain, but to re-tune perception.