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 SIGNAL
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NAVIGATE SIGNAL





SONIC

AXIS

LUX

GRAIN     

FLOW


VITA


[Research] READ


SIGNAL is an ongoing research architecture exploring the relationship between body and environment—and the layered, often invisible space in between.

Built around five primary sensory modalities — vision (LUX), audition (SONIC), somatosensation (GRAIN), proprioception (FLOW), and the vestibular sense (AXIS) — SIGNAL studies how light, sound, texture, movement, and spatial orientation shape perception, attention, and state.

Rather than treating these senses as isolated channels, SIGNAL examines how they fuse, interfere, and reorganise to form the continuous phenomenon we call experience. Geometry, surface, rhythm, scale, airflow, and density — these environmental variables become the material through which sensory systems are challenged, stretched, and reconfigured.

All of this unfolds within a wider ecological principle: VITA, a biophilic logic that explores how living patterns, organic complexity, and environmental dynamics modulate perception. VITA is not a sixth sense; it is the ecological backdrop that alters how the five modalities behave and interact.

SIGNAL isn’t an attempt to dissect the self.

It is an investigation into interaction — how sensation and environment co-regulate, how states emerge or collapse, and how perception reorganises under pressure.

At its core, SIGNAL is a form of modelling.

It treats bodies, environments, and perceptual processes not as fixed entities but as dynamic systems, constantly looping information between inner state and external world. Each modality becomes a lens to study not only what we perceive, but how perception stabilises, fractures, or adapts over time.

The research is driven by a simple, consequential question:

Can we build more robust models of embodied experience—models that account for complexity, feedback, and entanglement — and use them to better understand mental health, somatic dysregulation, and the environments that shape our inner lives?

In this sense, SIGNAL is not merely an artwork.

It is a methodological scaffold — part studio, part lab, part fieldwork. Drawing from systems thinking, sensory design, computational modelling, and embodied phenomenology, it examines how perceptual states emerge, settle, or shift, and what this reveals about the human condition in clinical, social, and architectural contexts.

The project unfolds modularly.

Each modality teaches a new technical language—a way of sensing, building, and thinking. Some outcomes become installations or public interventions. Others remain as tools, datasets, or conceptual frameworks. Together, they form a long-form investigation into a central idea:

Perception is not passive.
It is a system—one that shapes how we feel, how we adapt, and how we stay human under pressure.