Professionally, he works in graphic design, photography, and film. Working with image, light, time, and movement is not merely an artistic endeavor, but a practical experience of operating with processes that are inherently discrete, sequential, and rhythm-dependent. It is in the realm of visual narrative and storytelling that one of the key questions arose: whether the reality we perceive is a continuous "being" or rather a process of constant updating.

A key element of his work is his passion for narrative — understood not as a literary form, but as a tool for organizing meaning. Storytelling, both visually and conceptually, became a way of connecting complex ideas into coherent structures of meaning. This narrative skill played a crucial role in shaping Māyā theory as a holistic account rather than a collection of isolated hypotheses.

In parallel, for many years he has been developing theoretical interests encompassing fundamental physics, philosophy, psychology, and theology. These areas are not treated as separate disciplines, but as different languages ​​for describing the same problem: the nature of existence, consciousness, and the structure of reality. Over time, this has led to the conviction that dominant physical models — despite their effectiveness—operate primarily at the level of description, not mechanism.

The theory of Māyā emerged as an attempt to transcend this boundary. It emerged not as a philosophical speculation or a formal project imposed from above, but as a consequence of years of thinking about reality as an informational process. It is an attempt to identify a common mechanism underlying time, matter, energy, and gravity — a mechanism that can be studied, developed, and verified.

Interdisciplinarity as a condition for synthesis

A key element of this path was interdisciplinarity, understood not as the sum of various competencies, but as their true synthesis. Combining knowledge in fundamental physics, computer science, graphics, and visual narrative enabled a perspective rarely found within narrowly specialized fields.

Graphical thinking — manipulating structure, layers, spatial relationships, and sequence — proved unexpectedly crucial for understanding physical processes. In graphics and film, an image doesn't "exist" on its own: it arises through discrete processing, frame updates, synchronization, and rendering. This practical experience became a reference point for reflection on the nature of time, continuity, and the local actualization of reality.

Similar to breakthroughs such as the development of modern artificial intelligence models — where key discoveries proved impossible without insights derived from visualization, network architecture, and data representation — Māyā theory also required tools from beyond classical theoretical physics. Understanding the structure of reality as an information process proved impossible without the language of computational architecture, graphics, and systems thinking about synchronization.

It is this perspective that has enabled a profound synthesis: the combination of physical formalism with process intuition, in which reality is not described as static geometry, but as a dynamic, discrete and locally processed process.