To further this idea, working with natural organisms introduces growth and decay into the artistic process. How do these biological timelines influence the temporal aspect of your art, and how do you negotiate control over these changing forms?

While I would argue that synthetic systems like robotics exist on their own timelines of materiality and decay, working with natural organisms introduces a different rhythm grounded in growth, fragility, and transformation. I’m particularly drawn to the Bombyx mori, the domesticated silkworm. Over the years of hosting them in my studio, I’ve witnessed their life cycle from egg to larva, cocoon to moth. It’s been both an intellectual process and an emotional one. Observation becomes a form of presence.