Dennis, an interaction designer and artist, is redefining the intersection of technology, nature, and creative expression. With a background in architecture and an ever-evolving curiosity, his work spans kinetic installations, generative art, and algorithmic music. From hacking old calculators as a child to crafting immersive, interaction experiences, Dennis continuously expands the boundaries of digital creativity.

Dennis, what does technology mean to you? How is it essential for your creativity in this new digital paradigm that we are living in?

I am a huge geek, so I’m constantly fascinated by technology, science, and computers. I’m also very inspired by science fiction, hacker culture, and the tech-forward design aesthetics of the 80s. I’m always looking for new ways to deconstruct natural phenomena through the lens of technology and algorithms. I strongly feel that there is a fine balance where the natural world and technology can co-exist, and that philosophy is reflected in my work. Science helps us understand natural principles, and in turn, that informs my art—so while my work is filtered through technology, it still expresses the essence of nature.

““Nature informs science, and science informs my art.”
”

— Denis Fabian Peter

From studying architecture to working as an interactive designer and artist, you have now moved to making music. Your life has been exposed to something in these connecting dots and lines. Can you take us through what it is and how it all started?

Music has always been a vital part of my life. I learned classical piano as a child and played in rock and metal bands during high school and college. Transitioning to electronic music was a natural phase for me, and this is where I discovered generative art and algorithms. Attending creative coding workshops and experiencing an algorave—where live music is generated using code—was a defining moment. My architectural education instilled a strong design aesthetic, influencing my approach to art, which is centered around experimentation and play. My works are often site-specific, with a strong sense of space, integrating elements of engineering and mechanics.

Let's talk about your work, especially with the mechanically infused experiences that you provide. What is your intention behind these multidisciplinary pursuits?

My work and process are in constant evolution. I love working with different mediums and quickly lose interest in repetitive processes. This curiosity pushes me to keep learning with every project. My kinetic art pieces stemmed from a fascination with mechanical motion, but now I’m more drawn to dynamic lighting and generative audio. I also integrate interactive elements into my installations, allowing the audience to become part of the experience. There’s something powerful about watching a stranger engage with your work and complete its intended effect.

Dennis, I want to understand your kinetic and light interaction artworks. What are you trying to communicate? What is the purpose?

Even though my work is kinetic or light-based, the fundamental goal remains the same—to deconstruct natural phenomena. The medium may change, but the question persists: how can natural processes be visualized and broken down using technology and science?

Bionic Bloom is a kinetic piece that captures the beauty of repeated geometric forms, much like a wave of flowers in the wind. Flow.0 is a large-scale lighting installation depicting the various textures of water in nature.Transmissions into the Void is an interactive light and sound installation exploring the fleeting nature of human creativity, drawing parallels to how nature encodes information.

Let’s talk about your culture, your upbringing, and the social environment that influences your work.

For the most part, my work is culture-agnostic—I don’t adhere to a single style. If anything, my style is influenced by the modular principles of modern engineering and the aesthetics of constructivist painters and architects. As a child, I was fascinated by science shows and the inner mechanics of objects. I would break open electronic devices just to understand how they worked. Growing up in a tropical, coastal part of India, I am constantly inspired by the rich biodiversity of the forests and the sea. These elements shape my perception of form and movement.

Take us through your inspirations and influences in the industry. Any names you’d like to shout out?

I draw inspiration from artists, designers, scientists, and philosophers.

Artistically, Brian Eno has been a huge influence as a pioneer in music and media arts.

Scientific minds like Roger Penrose, Richard Feynman, and John Conway inspire me. They are visual thinkers who solve problems by perceiving the universe differently.

I believe physics and mathematics are as much about visualization as they are about theories, and artists can help make these fields more accessible.

Other inspirations in media arts include Tundra, Yunchul Kim, Joanie Lemercier, Kevin McGloughlin, and 404.Zero.