The artist regards tiny, often imperceptible beings—such as minute insects, fish, and micro-organisms—as both units of information and ecological records. Fragments of Life treats each life as an individual narrative, archiving its delicate structures through detailed drawings, while Assemblages reveals the organic orders and relational networks formed when these lives come together.

This mode of observation extends into digital work. The artist likens the way information and lifestyles propagate in contemporary society (2025) to biological infection. Virtual viruses borrow scientific forms such as classification systems and molecular structures, and the audience does not merely read them—they come into contact with them. The artist asks: What do we believe to be true—information or form?

Living organisms and viruses are placed on the same spectrum. One records reality within an ecosystem, while the other serves as a metaphor for information in modern society. The act of collecting traces of small life and constructing virtual viruses both stem from the same attitude of observation, recording, and accumulation. In the moment the audience engages with the work, they become not mere observers, but the infected.