Works

Sensory Oversoul
Sensory Oversoul (2025-26)
Co-led by: Hana Omori, Tanya Cruz and Isabel Ramos Production: Alexander Boyes Studio Management: HEKATE (Dominic Sylvia Lauren, Vaso Papadopoulou and Aristea Rellou) Programming, Game Design and Technical Direction: LimboTech Art Direction, VFX andGame Design: Mati Bratkowski Animation / VFX: Carlos Minozzi Environment Design: Ling Zang Motion Capture performer: Sophie Mars Music and Sound Design: Wavesovspace Haptic Womb Interactive Design: Edwin Dertien Silicone Womb Fabrication: Chris Fitzpatrick Spatial and Installation Design: Sebastian Kite
Game (colour, sound), Cushions, Headphones, LED Lights, Video, iPads, Fiberglass
PHI Foundation, Montréal
Installation view, Keiken: Sensory Oversoul, 2025-2026, PHI. © PHI
ABOUT
Taking place at PHI in Montréal, Canada, “Sensory Oversoul” (2025-26) is a multi-room, immersive installation that weaves together three interconnected experiences: “Spirit Systems of Soft Knowing,” “Morphogenic Angels: Chapter 1,” and the Morphogenic Angels World-Building Room. Across these environments, visitors move through a living ecosystem of embodied sensing, speculative world-building, and gaming. Each room forms a different layer of the Oversoul, a shared field where human and non-human forms, physical bodies and fictional beings meet. Drawing on Keiken’s practice across games, films, installations, performance, and empathy technologies, “Sensory Oversoul” prototypes future realities and creates deeply interconnected experiences that invite audiences to feel, connect, and transform.
USER EXPERIENCE
“Spirit Systems of Soft Knowing” (2024) is an immersive, participatory experience that explores empathetic connection and non-verbal communication through sound, touch, and embodied sensing. Participants lie down and are fitted with a haptic wearable womb, a sound and touch-led empathy technology created by Keiken. Placed on the abdomen, it becomes an artificial extension of the body, transmitting vibratory patterns that echo emotional and environmental rhythms. Through headphones, participants encounter a musical soundscape directly linked to the womb’s sensations. The 6-minute composition shifts between underwater mammals, sandstorms, and vast atmospheric spaces, creating a multidimensional field where sound, vibration, and imagination merge. The experience invites visitors into deep listening, bodily awareness, and a subtle form of connection, both with themselves and with the world of “Sensory Oversoul.” In the second phase of “Sensory Oversoul,” visitors enter the world of Morphogenic Angels, a speculative universe set 1,000 years in the future, where beings evolve through energy, perception, and transformation. The space shifts from bodily sensing to narrative exploration. Visitors encounter fragments of the Morphogenic Angels story and world through moving image, sound, sculptural forms, and interactive elements.Here, visitors experience Keiken’s cinematic and game-inspired approach: dynamic storytelling, perception-led design, and encounters that unfold like scenes from a playable film. The environment invites slow navigation, curiosity, and intuitive reading of emotional cues, offering a deeper connection with the Angels’ struggles, memories, and transformations. The Morphogenic Angels World-Building Room offers a compact window into how the universe is created from character development and emotional logic to collaborative research and technical pipelines. Visitors encounter portraits of the main characters, a short video from the game’s end cutscene, and a world-building book outlining the realms, energy systems, and key collaborators.Two iPads reveal the making of the project, showing early prototypes, research moments, animation tests, and environment builds. This room acts as a living archive of the creative and technical foundations behind Morphogenic Angels.
CONCEPT
“Sensory Oversoul” examines how embodied technology can expand empathy, communication, and perception across species, worlds, and states of being. The haptic and sonic experiences of Spirit Systems draw from the body’s energy pathways, sensory substitution research, and non-verbal communication, inspired in part by neuroscientist Paul Bach-y-Rita. This creates a “tool of consciousness” that reconnects visitors to unknown or forgotten forms of inner sensing.The Morphogenic Angels rooms extend this into speculative storytelling, exploring how beings evolve, communicate, and navigate worlds shaped by energy, memory, and transformation. Across these interconnected spaces, “Sensory Oversoul” becomes a holistic environment where touch, vibration, story, and imagination merge. It invites visitors into communication beyond language, beyond the human, and into a shared oversoul: a field of relational sensing that binds all forms of existence.

Details

Sensory Oversoul (2025-26)
Co-led by: Hana Omori, Tanya Cruz and Isabel Ramos Production: Alexander Boyes Studio Management: HEKATE (Dominic Sylvia Lauren, Vaso Papadopoulou and Aristea Rellou) Programming, Game Design and Technical Direction: LimboTech Art Direction, VFX andGame Design: Mati Bratkowski Animation / VFX: Carlos Minozzi Environment Design: Ling Zang Motion Capture performer: Sophie Mars Music and Sound Design: Wavesovspace Haptic Womb Interactive Design: Edwin Dertien Silicone Womb Fabrication: Chris Fitzpatrick Spatial and Installation Design: Sebastian Kite
Game (colour, sound), Cushions, Headphones, LED Lights, Video, iPads, Fiberglass
PHI Foundation, Montréal
Interactive installation, game installation
Installation view, Keiken: Sensory Oversoul, 2025-2026, PHI. © PHI