When did you begin your artist journey?

I studied acrylic painting, lithography, and art history prior to embarking on my career as an architect and urban planner. Therefore, I am interested in how the fields of art and design have developed and influenced each other when it comes to the process of creative thinking. Specifically, I find the late 1960s to be a fascinating period, as that is when artists began to adopt the tenets of design praxis to their oeuvre, thus marking a pivotal moment in the intersection of these two domains. This is also around the period when Gilbert Simindon, André Leroi-Gourhan, and, to a certain degree, Claude Shannon began to recognize the intrinsically pharmacological nature of design technology that co-evolve with humanity. Hence, media theorists have begun to perceive technology as part of the epiphylogenetic process. This concept also affirmed and accelerated the internalization of heteronomous artifactuality in one’s development as an artist.
Steve Baer, Tony Martin, and Ken Isaacs, to name a few, were the prominent instigators of the multidisciplinary art practice in that period, and their work certainly inspired me to engage and to practice in the multimedia and transversal context as an architect. Furthermore, my multicultural and cross-cultural experiences of growing up in Hong Kong, Tokyo, and London during my formative years helped me embrace a broader perspective on sociocultural intermediation and engagement with both artists and designers in creative practice. Both fields are inseparable and have complemented each other in my professional career since early on.

Where does your inspiration come from?

I explore and am inspired by the role of noise as a form of interference in the fidelity of digital communication and the catalyst for undermining the dominance of digital hegemony. As noise disrupts established patterns and introduces variability, it can lead to the emergence of new insights and possibilities through phase fluctuations in the striated orthogonal system. Noise, in this sense, can be seen as a source of unpredictability, pushing established systems and individuals to explore the heterogeneous association of socio-cultural actors through the translation of hermeneutic devices. By the same token, the accumulation of pure potentialities in the form of perlin noise contributes to the complex system of indeterminacy in the socio-cultural domain. It introduces multiple perspectives, unpredictable possibilities, and multivalent interpretations, enriching the overall landscape and facilitating the emergence of new connections in the hybrid network of inter-objective entities. Noise, in this sense, can introduce multiple alternative perspectives, enriching the overall landscape and facilitating the emergence of interconnected assemblages across a variety of creative disciplines.

How would you describe your creative process?

My creative approach incorporates a symptomatic reading that is ascribed to the intertextual encoding of underlying subsystems that are immanent in architectural, ecological, and sociocultural milieus. The process thereby essentially captures the cognitively latent and implicit narrative of art objects as opposed to the recent trend of the surface reading, which is designed to interpret the perceptible and theorematic aspects of sensual objects in a semantic context. Consequently, I focus on the underlying presuppositions beneath the surface structures of an urban assemblage comprising heterogeneous and unconscious attributes that enter into relations with one another. 
The process-oriented strategy embraces the genealogical interpretation of society and hence decodes the immanent axiomatic of capitalist society. In regard to creative practice, one can reinterpret even daily commodities by exploring multilayered meanings and the metaphorical counterpoint that are ubiquitous in their metaphysical dimensions.

Who has influenced your work, or continues to influence your work?

There are several favorite artists I keep coming back to throughout my artistic journey: Gilbert Simondon, Mark Fisher, William Burroughs, Fernand Braudel, Georges Bastille, Louis Althusser, Michel Serres, Felix Guattari, and Pierre Klossowski, to name a few.

What do you aim to say by the themes in your art?

There is also a common thread with regard to visual abstraction in my work: the multiplicity of hybrid objects that unfold within their own spatiotemporal coordinates of phase space and are transcribed to an image plane. In that regard, the creative process of drawing henceforth can be defined as the swirls of virtual intensities that are reconfigured as the cartography of spatiotemporal reality.

What are your long-term artistic goals?

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As far as the creative practice is concerned, I'd like to attain the transversal and multidisciplinary approach that breaks down the boundaries between heterogeneous domains of knowledge and the subject–group in visual semantic context. The transversal perspective might be required to maximize artists' creative coefficients by unmooring their traditional roles. However, it could also dissolve the static mode of representation and reveal a path to more open-ended and divergent forms of cultural production.

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What advice do you have for aspiring artists?

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The proliferation of digital media has led to a society that is increasingly focused on the cycle of the accumulation and dissemination of information rather than the cultivation of knowledge. With multiple data streams and ubiquitous network connectivity, information is instantaneously available and omnipresent. This trend is leading toward an entropic form of technological consumerism and could eventually cause the technological instability of ethical life built on a coevolutionary process with an epiphylogenetic memory. In this context, I regard art praxis as the reappraisal of the exteriorization process involving noetic activity to overcome the increasing loss of spiritual individuation caused by successive phases of technological remediation. The shared mnemonic nature of artistic activity can evoke an awareness of time that opens up the possibility of retention–protention and, ultimately, enables deep attention to cultural transmission. Hence, an art object as a form of knowledge culture can disrupt the generalized polarization of the consumer’s existence and reinstate humans as autonomous individuals in the contemporary network of human–non-human relationships.