Necto is a 3D-knitted membrane by SO–IL and Mariana Popescu's Tailored Materiality group at TU Delft, suspended between the columns of the Arsenale Corderie for the 19th Venice Architecture Biennale: 100 m² of knitted natural fiber, light enough to travel as passenger luggage.

Luminous threads run through the knit along its structural stress lines. TheGreenEyl was contracted to design the experience — the generative light and spatialized sound that move through the membrane — and I was subcontracted for the shader work: the animation systems in TouchDesigner and Unreal Engine that drive slow, breathing fields of light across a display whose pixels are threads.

Press

• CreativeApplications: Necto, a 3D-knitted anticlastic spatial surface
• Designboom: SO–IL suspends 3D-knitted natural fibers in the Arsenale
• La Biennale di Venezia: Necto

Project Genie is the first public interface to Genie 3, Google DeepMind's real-time world model. You sketch a world with words and images, refine it in natural language, then step inside and explore it as it generates around you. It launched in Google Labs in January 2026.

At Google Creative Lab I worked on the website, UX and Three.js motion graphics work for the experience: the animations, interaction design, and prototyping meant to convey the new paradigm of a frontier research model that users could walk into, with endless possibilities inside.

The project won the Cannes Lions 2026 Grand Prix for Digital Craft (a unanimous jury decision, from 355 entries) and a D&AD Wood Pencil for Digital Experience Design.

Pipecleaners to World

For the marketing push I made Pipecleaners to World. I bent pipe cleaners into small creatures, filmed them in my hands, and fed the images to Genie, which turned them into explorable worlds and playable characters. Hyesung Kim edited the film and Google Labs posted it.

Just a pipe cleaner, a dream, and Project Genie: an early research prototype that generates photorealistic environments that can be explored in real-time.

Press

• Cannes Lions: winners across the Entertainment and Craft tracks
• Campaign: Google wins Digital Craft Grand Prix for Project Genie
• Contagious: Cannes Lions 2026 Digital Craft winners
• D&AD: Project Genie (Wood Pencil, Digital Experience Design)
• 9to5Google: Google launches Project Genie

An interactive installation for Google's Creative House at Cannes Lions 2026. Visitors arrange physical toys in front of a webcam and take a picture. The image becomes a prompt, the prompt becomes a live Genie world, and a plastic dinosaur on the table turns into a live character seconds later.

I was the creative technologist for the piece. I built it as a browser extension layered over Project Genie, with generative sound and design made for the space, and it ran hands-on for festival attendees through the week.

Press

• Ad Age: inside Google's Creative House at Cannes Lions

For the launch of Tools in Google Flow, the gallery that turned Flow from a video generator into an AI creative studio, I designed and built ten small creative tools with AI-assisted coding, deployed on Google's site for anyone to use and remix. I'm in the film Google made for the launch.

Among them: Video Granulator (my favorite), Blob Tracking (which XDA Developers singled out in a feature on the gallery), Image Editor, and 3D Face Swap. After launch I mentored external creators on AI-led engineering as they built and shipped tools of their own.

Press

• XDA Developers: Google's most underrated AI tool is a free graphics editing suite in disguise

DEAF CLUB asks what a sign-centric, visually oriented space can be in the metaverse. Physical Deaf clubs, once the heart of Deaf social life, are dwindling. Artist Melissa Malzkuhn (founder of Motion Light Lab at Gallaudet University) conceived this one as a living digital archive and gathering place: a stage for visual poetry and storytelling, a bar, a gallery of work by Deaf artists from around the world, a rooftop overlooking the city.

I was the Unity developer on the core team, building the club for HTC's VIVERSE platform so it works in VR or a desktop browser. Commissioned through the CripTech Metaverse Lab (Gray Area, Leonardo, and VIVE Arts), it premiered at Gray Area Festival in San Francisco in October 2023.

Press

• The Limping Chicken: Melissa Malzkuhn on creating a Deaf club in the metaverse
• Gray Area: CripTech Metaverse Lab
• VIVERSE: VIVE Arts partners with leading art-tech organizations

Infinite Images: The Art of Algorithms (Toledo Museum of Art, July–November 2025, curated by Julia Kaganskiy) surveys sixty years of art made with rules, chance, and code, from Vera Molnár and Sol LeWitt to Tyler Hobbs, Casey Reas, and Emily Xie.

TheGreenEyl designed the exhibition and its computational identity, treating the gallery itself as computation. I worked as creative technologist on both sides of the project: the physical exhibition (exhibition design mockups, creative technology assistance on the artworks themselves) and the exhibition website that carries the generative identity onto the web.

Press

• Frieze: Infinite Images review

Effect House is TikTok's desktop platform for building AR community effects, its answer to Lens Studio. I joined during the COVID years as an interactive engineer and contributed foundational engineering to the tool itself, focusing on the components, templates, and systems effect creators build with.

Work on AR algorithms, shaders, and tooling in that period also produced six patents, three as first inventor. Since Effect House opened to the public in 2022, community-made effects have appeared in over 21 billion videos.

Press

• TikTok Newsroom: introducing Effect House
• TechCrunch: TikTok launches its own AR development platform
• Social Media Today: Effect House comes out of beta

Alongside building Effect House, I made effects with it: face-driven, procedural, and audio-reactive AR filters shipped to TikTok's global audience. Together they engaged more than 80 million users and appeared in videos with over 7 billion views.

This reel collects my favorites.