My large See/ Hear/Speak No Evil triptych and "byobu" folding screens were upstairs, while "Tutankhamun and the Golden Age of the Pharaohs" was downstairs - that was one of the best weeks of my life. I survived the 2011 earthquake and Fukushima nuclear disaster. After that, I left Japan and continued roaming the world. I've been experiencing diverse cultures, exploring the vast multiverse in my head, and studying and working on four continents: linguistics, criminalistics, computer science, cybersecurity, robotics, visual arts, music (piano, bass), history and philosophy of science, and more. It was New York-Paris-Peckham for the Trotters. So far, it's been mostly Tokyo-Berlin-Fulham and a bit of Washington D.C.- Douglas-Rijeka for me :)

☆ MY CULTURAL IDENTITY, ARTISTIC SENSIBILITY & STYLE ☆

• Art that can exist anywhere, or everywhere at once. My upbringing was pan-European and I've been a globetrotter since I was a teenager. I'm a product of multiple cultures spanning several continents and my artwork inevitably reflects this transculturalism or cultural hybridity. It transcends our mundane spatial and temporal boundaries, stretching to the edges of the universe and beyond.

• The Shokunin Philosophy, Tokyo, and Teufelsberg: I love Japan's masterful blend of futuristic technology and traditional arts and crafts known as kogei, deeply rooted in the philosophy of monozukuri (the art of "making things"). It combines centuries-old techniques with advanced innovation, often focusing on sustainability, precision and the beauty of everyday things, known as yo-no-bi. Functionality is no longer a limit; the idea that functional items cannot be "fine art" is ridiculously outdated. The concept of shokunin implies a deep pride in one's work, bridging the gap between artisans and artists. I was a street rat for many years and my art has a Tokyo-Koenji meets Berlin-Teufelsberg vibe. Teufelsberg (Devil's Mountain) is a former NSA spy station from the Cold War that has been transformed into one of Europe's largest open-air street art galleries. I love exploring its abandoned, decaying structures tucked away in the Grunewald forest. The nearby Teufelssee (Devil's Lake) is perfect for skinny-dipping. A slice of heavenly ecotopia amidst a wasteland of technology :)

• Abstract Surrealism/Lowbrow, Techspressionism & Algorithmic Aesthetics: Art has always been the catalyst of contemporaneity. My inner lens and artistic expression are often non-Euclidean. I play in both physical and digital realms, painting and sculpting like Jackson Pollock and Barbara Hepworth, but I also crunch numbers and pixels. I train algorithms on natural images to explore the "in-between" spaces and create "impossible realities". Computer-generated art is not "artificial" because humans provide the code and input. Our work is "computer-assisted" and fundamentally human-driven. AI is a creativity multiplier and amplifier, but human creativity remains supreme, acting as the judge, navigator, and source of emotional depth.

• Deep Appreciation for Earth and Its Beauty, Natural Wonders, Small Moments (Glimmers) & Call to Stewardship: Astronauts often describe experiencing a shift in consciousness after viewing Earth from space - a profound sense of interconnection, unity, and fragility. I've always had a passion for cosmology, astronomy, and spaceflight, and have dreamed of becoming a pilot or astronaut. My art is often a love letter to nature. Awe isn't reserved only for massive landscapes, majestic forests, and vast oceans; it can also be found in the everyday "glimmers" - the intricate design of a leaf, or the spider's web in my room. The Earth is teeming with fascinating lifeforms, from the microscopic to the colossal, each playing a vital role in our planet's ecosystem. Every species deserves our respect and has an inherent right to live free from suffering. Humans are not "superior" to them. Taking the time to observe and protect these amazing creatures is crucial for a healthy planet and our survival.