My work investigates the intersection of biological sensation and digital memory. I am interested in how the liquid nature of an emotion, its raw and unmediated flow, gradually crystallizes into the rigid structures of recollection. I call this process the translation of organic flow into structural affect.

Throughout this semester, I have utilized the movement of water as a primary metaphor for human experience. In its original state, water represents a fluid experience. It is continuous, shifting, and deeply organic. However, as we process our feelings and store them as memories, that fluidity is lost. To visualize this, I transform smooth video footage into high-contrast, granular structures that resemble point clouds or failing 3D scans.

I chose a monochrome palette and a fragmented aesthetic to strip away the literal nature of the water and focus on its topography. By turning the surface into separate dots of light, I am showing that memory is imperfect. We do not remember the past as one smooth and continuous flow. Instead, we rebuild it from disconnected fragments. The grainy noise represents how time wears away our memories until only the most basic patterns remain.

Artificial Intelligence serves as a critical bridge in my studio practice. I use generative models not to replace my vision but to refine and extract the ideal visual aesthetic of an emotion. Whether through the jagged rhythms of a visual mesh or the atmospheric layers of a soundscape, I am building a system for emotional reflection. My goal is to show that even when a memory becomes fragmented and "hardened," its underlying structure still carries the power to trigger a deep, visceral response.

Ultimately, my work asks the viewer to stand within the tension between the fluid moment and the rigid archive. It is an exploration of how we hold onto the "wet" truth of our lives before it inevitably turns into the dust of digital and mental history.