Design Consciousness is Personal

Throughout my childhood, I was unaware that I was a color-word synesthete. I only came to the realization that hearing words evoked vivid pictures much later in life. I was also captivated by the realm of shadows and consistently engaged in experimentation with it. I was intrigued by the notion that shadows might be both bold and sinister, while yet possessing the capacity to do remarkable feats. Shadows would consistently broaden my imagination, and I would be motivated by the existence of their outlines and participate in interactions with them. These experiences demanded an experiential yet uncertain style of writing- a form that was spatial, choreographic, and utopian, akin to that of a contemplative voyager.

More recently, I have been able to connect those childhood reveries to the research on Neural Shadow Fields, which acquire object framework from binary shadow masks. This in turn sparked my interest in “neurogeometry,” the captivating intersection of geometry and perception. This interdisciplinary focus aims to comprehend the manner in which our minds process and interpret the visual world through geometric structures and motifs. I have transformed this comprehension into an instinctive performative and musical cadence of the senses. This human experimentation is characterized by choreographic immediacy and an alchemical transference of the fluid possibilities of an overwhelming sense of the sublime, which is influenced by art and framed by science. The concept of integrating sound and image with colors and shadows has become profoundly ingrained in my unconscious. I have been exchanging syntax and semantics for the series of patterns and structures that serve as the underpinning of my design methodology.