How did you discover your passion for digital art? I’ve always been drawn to digital art, science fiction, video games and futuristic aesthetics. Growing up in the 2000s, I was surrounded by the rise of CGI and trends like elaborate technical UIs and glossy Y2K aesthetics. I was obsessed with music videos like Eiffel 65’s “I’m Blue.” Remember that cool alien? Such a vibe! It felt inevitable that I’d fall in love with 3-D art.

That said, my journey wasn’t straightforward. In art school, we had a one-week workshop on 3-D software—which was Lightwave, at the time—and I hated it. It was so clunky and frustrating that I swore I would never touch 3-D again. But fast forward to 2012 to 2014, software had improved drastically and became far more user-friendly. I started experimenting with Cinema 4D, diving into tutorials and downloading free 3-D objects online. Around that time, the seapunk aesthetic was trending; think glossy white materials, iridescent textures, abstract blobs and rainbow colors everywhere. That visual language resonated deeply with me. It was during this phase of endless experimentation that I truly discovered my passion for digital art.

How does your background as an art director for the fashion and beauty industries inform your work? My experience has been invaluable in shaping how I approach commercial projects today. It taught me how to understand a brand’s identity and translate it into visually compelling work while balancing clients’ needs with my own creative vision. This background also gave me practical skills, like creating clear decks to present ideas, managing workflows efficiently and communicating effectively to avoid wasting time on either side.

Working in fashion and beauty also taught me the importance of collaboration, whether it’s working with teams or outsourcing tasks to specialists when needed. Knowing when to delegate has been a game changer for me as an artist because it lets me focus on what I do best while ensuring the final product is as polished as possible.

Tell us about the inspiration and development behind your signature 3-D makeup. What software did you use to create it? The idea of combining 3-D with makeup came to me almost out of nowhere, but when I think about it now, it makes perfect sense. At the time, I was improving my 3-D skills by working on music videos and integrating digital objects into physical environments. I was also binge watching RuPaul’s Drag Race—which is all about transformation, makeup and beauty—while working on makeup campaigns. All these influences collided into one concept: “3-D + makeup = 3-D makeup.”

When I started experimenting, AR software like Lens Studio and Spark AR didn’t exist yet. So initially, my work could only be realized through CGI using Cinema 4D and post-production techniques. Later on, when Snapchat released its dog-ear lenses and AR filters became mainstream, people started calling my work “face filters”—which I hated! To me, filters feel like something that hides or alters reality. My work is about revealing something magical and otherworldly.

In the future, how do you see 3-D makeup revolutionizing fashion? It’s already happening! We’re seeing more physical objects inspired by digital aesthetics, like creators using 3-D modeling and printing to bring their designs into the real world. Looking ahead, AR glasses will be a game changer once they seamlessly blend virtual and physical realities. Imagine being able to see someone wearing their digital assets in real life. It will open up so much freedom for self-expression in mixed-reality spaces.

I think this will completely transform how we interact with fashion and beauty because digital elements can evolve infinitely without the constraints of physical materials. It’s going to be so much fun—I can’t wait!

You’ve collaborated with many big-name brands, such as Burberry and Dior, as well as celebrities like Charli XCX. What have been some of your favorite collaborations? One of my all-time favorites was working with Charli XCX—she’s such an icon! It was an honor to create pieces for her face and body as well as for other amazing artists she worked with, like Yaeji and Christine & The Queens. Her creative director was also fantastic to collaborate with; they really respected my vision.

Another highlighting was working with fashion brand BIMBA Y LOLA. The team was so supportive and pushed my artistic vision further than ever before. Having a budget to bring big ideas to life is such a luxury compared to the DIY projects I create in my studio!

Most recently, my collaboration with Prada Beauty was a game changer because they hired me not just for digital makeup but also to consult on physical makeup textures and pigments. That project felt like closing the loop between the virtual and physical realms, and I’m so proud of what we achieved together.

Additionally, you’ve shown work at art museums such as Art Mûr in Montréal and the Coreana Museum in Seoul. What do you enjoy about creating fine art? I love creating fine art. It allows me to tell stories in ways that feel deeply personal. Exhibiting in museums and galleries is incredible because it takes my work off of smartphones and into physical spaces where audiences can experience it differently.

For example, my latest exhibition was in Paris at Galerie Julie Caredda. I designed custom frames for my screens so they became part of the artwork itself rather than just displays. I also collaborated with designer Anaïs Borie on a sculpture that brought my digital concepts into the physical world—a process I’d love to explore more but for which I don’t yet have the tools or space.

What excites me most is bridging the digital and physical worlds and creating immersive experiences that challenge how people see themselves both online and offline.

Congratulations on being selected as a guest speaker at the 2025 OFFF Festival! What are you look forward to about the experience? Thank you! I’m really excited about seeing other artists’ talks. It’s always inspiring to hear different perspectives at events like this. While I enjoy speaking engagements, they can be intense since I’m naturally introverted. That’s why I try to be selective about which ones I do. It takes time and energy to prepare presentations and get comfortable speaking in front of an audience!

What software is absolutely indispensable for your work? Cinema 4D is still my go-to. It’s where everything starts for me!

What emerging technologies will have the biggest impact on how you create over the next few years? Not a very surprising answer, but AI is already reshaping everything. Right now, I’m exploring how AI can fit into my workflow. Ideally, I would like to use it for helping me with technical tasks, like face tracking or animating my 3-D models, but I haven’t found the right tools yet, unfortunately.

AI changes how we think about creativity because it shifts focus from making something yourself to curating what’s generated, which can lead to happy accidents. However, this feels very different from traditional processes. Right now, I’m experimenting with Krea with the support of Boldtron, an amazing artist and friend of mine. I’ve trained a model on my own designs, generated thousands of images and found very interesting outputs! I’m not sure where that will lead me, but I’m mostly curious about the possibilities.

Do you have any advice for digital artists just getting started in the field today? Experiment fearlessly. Don’t wait for ‘the perfect idea’; just start making things and embrace failure as part of the process. Try different tools until you find ones you enjoy using most, and don’t chase trends—focus on what brings you joy instead. ca