My current practice revolves around multiple perceptions as found in the digital arts. I am interested in looking at how multiple forms of information mediums intrude everyday life, and how such shifts have affected the means of educating, cultivating, or politicizing our perception of the world. Through the use of various multimedia software systems, I am able to shift one’s anticipation of information portals by creating situations that reflects our online simulated life. One medium that I am particularly interested in is the Internet—it is an example of hybridization in an age of multimedia industries. It can present information in familiar ways, but at the same time become malleable to other new possibilities. With its multi-dimensional functionalities and complex link networking, the Internet offers non-linear narration of information, rather than traditional linear narration. Another aspect of my work is connectivity and flow between the various forms of information mediums. Information mediums are not always independent of each other they may be drawing upon and rely on one another to form a relational functionality. Thus by conflating multiple information mediums, my work forces the viewer to experience simultaneous exposure.

My inspiration is drawn from contemporary and historical sources. I am inspired by the Situationist International’s theory of urban planning and theory of psychogeography, and am intrigued by Marshall McCullan’s media theory. I draw from various discourses on digital media and conceptual art to question the value of art as a tool, how art can have pragmatic functions in society, as well as how people can learn from art. Issues about medium versus information, interconnectivity between multiple sources, and the simultaneous stimulation on everyday life have been discussed extensively throughout twentieth century but still remain unresolved. I wish to take part in that on going dialogue and offer my interpretation of the Internet phenomenon.

As technology breaks down the barriers of traditional art practice, it becomes increasingly facile to create art or a form which functions in the guise of art, and it becomes increasingly difficult to identify something as genuine. Digital art is often subjected to this criticism because the technology can be employed by anyone who does not necessarily have artistic training. Another potential threat to digital art is that its message may become lost as the technology becomes outdated in matter of months of few years. Thus, as much as there is to gain when the platform is in a digital format, it is also a high risk to create digital art when the digital medium is so vulnerable to fast-changing technological world. While my work challenges issues that are critical to digital art, I am also interested in questions that have been raised in art, economics, and political theories. Each discipline and institution has its own language systems and its own inherent limitations. In my work I analyze how the commonalities or disputes across the various disciplines can enrich and complicate our understanding of art practices.