I am a data scientist, audio engineer, and transdisciplinary artist.
I work with code, sound, and text to create multifaceted artistic experiences.
I explore themes connected to humanity, spirituality, and technology guided by principles such as simplicity, minimalism, and interactivity.
creative coding
These images playfully combine simple functions to evoke abstract concepts and feelings.
Drawing on minimalism, I explore the creative aspects of coding in a simple but effective way.
Because some parameters are randomized, the generated artworks change at each run.
With historical roots in the pioneer works on computer aesthetics of Vera Molnár [1] and fractal geometry of Benoit Mandelbrot [2], my practice is driven by the online creative coding community with artists such as Lauren Lee McCarthy [3] or Etienne Jacob [4].
These artworks serve as illustrations for my blog's articles [5] from which they are named.
Gilgamesh, 2022, Generative software (p5.js), 1600 x 1200 px
A myriad of white circles whose size is function of a sinus.
By simultaneously representing dots and waves, this composition evokes the concept of wave-particle duality.
Projecting the dots at random locations emulates a form of digital action-painting.
[Code]
High-energy states, 2022, Generative software (p5.js), 1600 x 1200 px
A multitude of random circles aggregates to form an organic structure.
Size and color are function of distance from the center.
I envision this as the spontaneous emergence of consciousness in the brain.
[Code]
Fractality, 2023, Interactive generative software (p5.js), 600 x 400 px
Playing with a simple fractal tree. Adapted from Processing code by Daniel Shiffman [6] into p5.js code.
The sketch is interactive and in my version the cursor position changes the recursion depth – making the tree grow.
Fractality is a fundamental and captivating aspect of our universe.
[Code]
Minimalism, 2025, Generative software (p5.js), 600 x 400 px
A concentration of 777 white circles creates a bright spot on a black square.
The lucky number seven is here brandished like a talisman against darkness.
Minimalism can help find serenity in an environment that feels overwhelming.
[Code]
audioreactive visuals
Here I link electronic sounds with visual networks to create real-time audioreactive artworks.
I am obsessed with the synesthesia offered by such a method: seeing sound, hearing visuals.
This work sparks from artists and educators like Bileam Tschepe [7], Simon David Rydén [8], and Max Cooper [9].
Audioreactive Iris, 2026, Real-time generative audiovisual work (Ableton Live, TouchDesigner), 1080 x 1080 px, Variable duration
This artwork is developed from a visual network by Simon David Rydén [10] and extended through audio reactivity, original sound composition, modified fluid dynamics, and colors reflecting my own iris.
Eyes are an important theme for me: because of my work in ophthalmology [11], the fragility of my myopic eyes, and their role as doors to our perception of the visual world.
Audioreactive Lights, 2026, Real-time generative audiovisual work (Ableton Live, TouchDesigner), 1106 x 668 px, Variable duration
This work adapts a point cloud introduced by Simon David Rydén [12], transforming it into an audioreactive system that swirls according to the modulated frequencies of a synthesizer.
I am fascinated by such evolving structures seen in smoke or bird flocks.
procedural modeling
In this project I generate a 3D organic form using procedural modeling, then render selected 2D views with different lighting and materials.
I am mostly interested in the 2D abstract textures I can generate from this process rather than the 3D sculpture itself.
This is the outcome of an online class given by Chantal Matar from Zaha Hadid Architects [13].
I regularly write short poems as a way to reflect on an experience, remember a moment, or capture a feeling.
I seek to use the least words needed, influenced by Japanese haikus, particularly by those of master Natsume Sōseki [14].
Rhythm, resonances, and spacing play a particular role.
They are in my native language French here along with an English translation.
I integrate them into my sound works.
2021-04-25
entouré de vent et de lumière
ma vie jaillit de la noirceur
ténèbres, de la mort
entre deux songes,
mon esprit s'envole et s'apaise.
surrounded by wind and light
my life sparks from blackness
darkness, from death
in between dreams
my spirit flies off and calms down
2025-08-30
nul démon n'a été plus grand, plus sombre,
ni plus terrifiant que ma propre ombre
no demon was bigger, darker, nor scarier than my own shadow
2025-11-13
voix lancinantes et bris de verre
cris étouffés de la ville
honni
haunting voices and broken glass
muffled city cries
loathed
Untitled (Selection), 2021-2025, Poems
sound
Sound has a particular place in my heart and artistic practice.
From a tender age, I have played the piano which has been an emotional refuge throughout life.
I later became an audio engineer which developed my taste for sound design and electronic music.
Sound deserves its own consideration as an artistic medium beyond the structure of music; its frequencies can be sculpted not unlike other materials [15].
Deep Cocoon, 2025, Sound work (electronics), 2 min 29 sec
A stripped-down experimental piece where I investigated the feeling of falling into one's inner depths.
Greatly inspired by pianist and composer Nils Frahm and his hypnotic use of synthesizers [16].
Marseille, 2023, Sound work (electronics and field recordings), 3 min 43 sec
An ambient techno track made out of field recordings of the streets and sea of Marseille, during a 3-month trip around France.
I depart from conventional rhythmic signatures of the genre inspired by my pianist and percusionist mentor Catia Olivia.
Enfants et Oiseaux, 2025, Sound composition (piano and field recordings), 2 min 36 sec
A piano composition recorded live at my window along sounds of kids playing and birds chirping on a summer day in Vienna.
For me, these are sounds of innocence, peacefulness, and nostalgia.
This piece is inspired by the free improvisations of Keith Jarrett [17] which capture a unique moment, as well as the magical harmonies of Joe Hisaishi [18], composer for Hayao Miyazaki's movies which often feature the theme of childhood.
machine learning
Adversarial thrifting: can second-hand clothing become a low-tech self-defense against automated surveillance?
In this project, I locally run a state-of-the art object detection model (YOLO11, Python) on self-portraits wearing thrifted clothes to test the limits of machine learning algorithms, disrupt their use as mechanisms of surveillance capitalism, and reclaim agency over their definition of our identities.
This work addresses privacy, sustainability, and resistance.
Linking it to my writing practice, poetry has been shown to disrupt large language models [19].
Adversarial Thrifting (Series), 2026, Algorithmic Photography, 2208 x 2208 px
medical imaging
I use an optical coherence tomography (OCT) machine to image the vessels of my own retina.
Recontextualized in an artistic context, I observe the symbolic and aesthetical properties of these images.
Mainstream culture states that the eyes are a window to the soul.
Meanwhile latest research in ophthalmology focuses on uncovering systemic diseases through the retinal vessels [20].
What are my eyes a window to?
What are my eyes a window to? (Triptych), 2026, Medical imaging, 640 x 1080 px
references
[1] Molnár, V. (1975). Toward aesthetic guidelines for paintings with the aid of a computer. Leonardo, 8(3), 185–189. doi.org/10.2307/1573236
[2] Mandelbrot, B. (1992). The fractal geometry of nature. W. H. Freeman and Co.
[10] Ryden, SD. (supermarket sallad). (2023, November 4). Fire iris TouchDesigner tutorial [Video]. YouTube. youtu.be/yCDIOIFbWm0
[11] Bartolomeo, N., Schuetz, Y. P., Nascimbeni, A. C., Gallo Castro, D., Crozat, B., Barry, M. P., & Ambresin, A. (2025). Early outcome analysis of intravitreal aflibercept 8 mg treatment in naïve patients with neovascular age-related macular degeneration using artificial intelligence. Ophthalmology and Therapy, 14(11), 2819–2829. doi.org/10.1007/s40123-025-01239-3.
[14] Sōseki, N. (2009). Haikus (Original work written 1889-1916). Picquier poche.
[15] Nyman, M. 1999. Experimental Music: Cage and Beyond [pp. 42-43]. Cambridge University Press
[16] Frahm, N. (2018). All melody [Album]. Erased Tapes. nilsfrahm.com
[17] Jarrett, K. (1998). Tokyo '96 [Live album]. ECM Records.
[18] Hisaishi, J. (2023). A symphonic celebration - Music from the Studio Ghibli films of Hayao Miyazaki [Album]. Deutsche Grammophon.
[19] Bisconti, P., Prandi, M., Pierucci, F., Giarrusso, F., Bracale Syrnikov, M., Galisai, M., Suriani, V., Sorokoletova, O., Sartore, F., & Nardi, D. (2025). Adversarial poetry as a universal single-turn jailbreak mechanism in large language models. arXiv. arxiv.org/abs/2511.15304.
[20] Wagner, S.K., Fu, D.J., Faes, L., Liu, X., Huemer, J., Khalid, H., Ferraz, D., Korot, E., Kelly, C., Balaskas, K., Denniston, A.K., Keane, P.A. (2020). Insights into Systemic Disease through Retinal Imaging-Based Oculomics. Transl Vis Sci Technol, 9(2):6. doi.org/10.1167/tvst.9.2.6.
This portfolio is generated as a website using HTML, CSS, and JavaScript.
It enables me to use flexible, free, and open-source tools as opposed to limited, paid, or proprietary software.
I chose these colors because I want it to look like ink on Washi paper.
Thank you for reading so far!
