Sensory Architecture is the methodological foundation of my work, exploring how perception, spatial awareness, and multisensory experiences shape artistic expression. By integrating scientific research, cognitive processes, and structural principles, this approach allows for the seamless convergence of sound, scent, movement, and form. It is through this lens that I construct immersive, interconnected experiences, dissolving the boundaries between disciplines and redefining how art is perceived and engaged with.
Perception & Synesthesia – As a guiding principle, synesthesia serves as an inherent mode of translation between disciplines, allowing for a fluid integration of visual, sonic, olfactory, and material elements.
Scientific & Spatial Research – Drawing from architectural principles, mathematical ratios, and neuroaesthetic studies, I explore how form, sound, and scent structure immersive experiences.
Temporal & Spatial Frameworks – Understanding how time and space are interwoven in artistic practice, expanding the perception of movement, duration, and stillness.
Interactive & Multisensory Design – Investigating how art can be interactive, reactive, and immersive, engaging audiences beyond passive observation.
sensory architectures
Perception & Synesthesia
Scientific & Spatial Research
Temporal & Spatial Frameworks
Interactive & Multisensory Design
Perception & Synesthesia
Perception is the gateway to experience, and synesthesia is its expansion—allowing one sense to flow into another, forming a multidimensional reality. My work is deeply informed by synesthetic perception, where sound has shape, color carries weight, and scent holds rhythm. This interconnected approach influences how I compose, paint, and structure my artistic practice, dissolving the boundaries between sensory modalities and transforming them into a unified artistic language.
At the core of this process is cross-sensory integration, where music is not just heard but seen, and scent is not just smelled but felt. Sound informs color; movement becomes tactile; material carries resonance. By translating one sensory input into another, I create an immersive field of perception where the audience does not just observe but experiences art through multiple dimensions at once.
The body itself is a sensorial vessel, constantly engaging with its environment in ways that extend beyond conventional senses. My work explores how tactility, movement, and spatial awareness play an active role in perception, shifting the experience of sound, vision, and scent into a physical, almost architectural encounter.
This exploration extends into the realm of cognitive and emotional resonance, investigating how sensory perception shapes inner landscapes, alters states of consciousness, and creates profound psychological imprints. Sensory experiences are not passive—they hold the power to trigger memory, evoke emotion, and alter time perception, transforming the intangible into something deeply embodied.
Beyond conventional perception lies a more expansive field—one that challenges the way we see, hear, and feel. Through scientific research, spatial mapping, and artistic experimentation, I investigate how perception itself is structured, how synesthetic connections can be composed, and how art can act as a portal into new dimensions of awareness. In this way, perception becomes more than a mechanism of experience—it becomes the very architecture through which art emerges.
Perception & Synesthesia
Scientific & Spatial Research
Temporal & Spatial Frameworks
Interactive & Multisensory Design
Scientific & Spatial Research
Art is not created in isolation; it exists within a structured space-time framework, informed by the logic of science, the principles of architecture, and the mathematics of form. My artistic practice is deeply rooted in scientific and spatial research, where perception is shaped by ratios, harmonic structures, and spatial awareness. These elements serve as a hidden architecture, guiding artistic expression beyond intuition into structured, intentional creation.
Mathematical ratios—such as the golden ratio, Fibonacci sequences, and harmonic proportions—inform my approach to composition, both in visual and sonic realms. By employing these principles, I create works that resonate with a sense of natural balance and universal connectivity. Whether in music, painting, or ceramics, these structures act as invisible frameworks, offering a foundation for organic expression.
Spatial research extends beyond form into the interaction of sound, movement, and perception within space. Acoustics shape how sound moves through an environment, just as scent disperses in an architectural setting. My work investigates resonance, diffusion, and spatial placement, ensuring that each piece exists not just as an object but as an element within a larger system of experience.
Time is equally a structural element, particularly in musical composition and olfactory design. Temporal frameworksguide the unfolding of experience—whether through the progression of a symphony, the evolving nature of a scent composition, or the tactile shifts in material as it is transformed by touch and interaction. My research explores how these elements can be shaped, expanded, or manipulated to alter perception itself.
By integrating scientific research with artistic practice, I aim to reveal the underlying structures that shape experience—not as fixed laws but as living architectures that evolve with interaction, movement, and perception. In this way, research becomes more than an analytical tool; it becomes an active force in the creation of new artistic languages.
Perception & Synesthesia
Scientific & Spatial Research
Temporal & Spatial Frameworks
Interactive & Multisensory Design
Temporal & Spatial Frameworks
Time is more than a linear progression—it is an active material in artistic creation, shaping the way experiences unfold and dissolve. My work examines temporal structures not as rigid measurements but as fluid architectures that determine how sound, scent, and form evolve in space.
In music, time manifests as rhythm, duration, and silence, constructing an invisible architecture that is only perceived in its unfolding. Compositions are not fixed objects but dynamic sequences, revealing themselves over time. Similarly, olfactory compositions exist within their own temporal framework, as scent disperses, intensifies, and fades in waves, shaping an experience that is both immediate and transient.
Material and sculptural works also engage with time—ceramics, for example, hold traces of their transformation, from raw clay to fired form, each stage capturing an imprint of process and duration. The interaction of air, light, and movement further alters how objects are perceived over time, reinforcing the idea that artworks are never static; they exist within a continuous evolution of perception.
By integrating temporal awareness into artistic practice, I explore how experiences are structured, how they shift between presence and absence, and how they resonate beyond their immediate moment. Time, like space, is a fundamental element in constructing meaning, allowing each artistic medium to expand into a living, breathing form.
Perception & Synesthesia
Scientific & Spatial Research
Temporal & Spatial Frameworks
Interactive & Multisensory Design
Interactive & Multisensory Design
Art is not merely an object to be observed—it is an experience to be entered, engaged with, and felt across multiple dimensions. My work integrates interactive and multisensory design, inviting audiences to participate in artistic experiences that extend beyond the visual.
Sound, scent, movement, and materiality all become elements that shape perception, guiding the audience through an unfolding process rather than a static presentation. In my multisensory compositions, sound may generate visuals, scent may define spatial awareness, and movement may trigger sonic transformations, creating a dialogue between the senses.
Interactivity plays a key role in this approach. Whether through audio-reactive visuals, immersive installations, or scent-based spatial compositions, my work is designed to respond to its environment and to those experiencing it. By dissolving the boundary between observer and artwork, the audience becomes part of the artistic process, shaping the experience as much as the work itself does.
Through multisensory engagement, I explore how perception is altered when multiple senses are activated simultaneously, expanding the way we interpret, feel, and move through space. These immersive experiences invite deeper participation, offering new ways to access and interpret the invisible structures that shape reality.