Research Overview
My studio investigates threshold experience, where the viewer tests the boundary between imagination and perception. Works translate environmental and navigational systems into material forms, then stage conditions that invite attention to cross a line, horizon, silence, sonic saturation, timed light. The question is simple and rigorous, what kinds of sensory evidence, scale and timing make that crossing more likely, and how can we document it without coercing it. This research aligns with interests in reality monitoring, metacognition and predictive models of perception. It is an art practice first, not an experiment, yet it is designed to be legible to researchers who may wish to co-author protocols around these conditions.
Conceptual Links
Key terms that guide my approach include reality monitoring, imagination versus perception, sensory evidence strength, threshold detection, confidence reporting and attention as a limited resource. Recent work in cognitive neuroscience has examined how sensory strength and category-selective regions inform reality judgments. My contribution is to supply carefully structured conditions that stress the threshold in embodied, non-laboratory settings, for example horizons, beacons, controlled silence, white-noise saturation, above-human scale prints. These conditions may allow lightweight measures, timing, self-report, confidence scales, pupil change, breath pacing if appropriate and consented. The aim is not to claim causal effects, it is to create a shared interface between art conditions and testable questions that matter to perception science.
Collaboration Brief
I welcome conversations with researchers in perception, metacognition and human-computer interaction who are interested in art-anchored stimuli that feel natural rather than gamified. Possible formats include:
Pilot protocols in gallery or landscape, pre-registered where appropriate.
Within-subject comparisons, silence versus saturation, horizon versus non-horizon, waypoint present versus absent.
Lightweight measures, self-report, short confidence scales, simple timing tasks, optional physiological proxies if feasible.
Documentation packs, image sequences, print sets, sound files and event timelines available as open materials where permissions allow.
The practice remains art first. Any study would be co-designed to respect consent, privacy and the autonomy of participants. I prefer minimal instruction paradigms that mirror real encounters, the viewer decides how to meet the work.
Methods, Materials, Ethics
Methods
Translation between states, photograph to photopolymer, data to textile, number to light. Ritual formats, timed events tied to tides, lunar cycles and equinoxes. Sonic design at two poles, saturation or silence.
Materials
Archival papers and inks, photopolymer plates, woven or knitted substrates, low frequency sound sources, controlled light.
Sites and scale
White cube for distraction-free control. Landscape for ecological validity. Works slightly above human scale to implicate the body.
Ethics
No deception, authentic intent, audience sovereignty. Autobiographical context is acknowledged without confessional use. Participation is voluntary. If research is undertaken with institutions, consent, data handling, accessibility and risk are managed under partner IRB or equivalent processes.
Notes to Collaborators
This page exists to make collaboration easy. I can supply stimulus packs and build bespoke sets that meet lab constraints without losing artistic integrity. I am happy to align schedules with partner calendars and to scope modest, well-powered pilots rather than overreach. If useful, I can prepare a short deck that maps artworks to potential measures and protocol sketches.