bio / komal yadav
komal yadav is a seattle-based creative technologist, software engineer, and model whose work lives at the intersection of code, culture, and the body. trained in software engineering at uc berkeley and shaped by years at microsoft, she brings her technical craft to deeply human questions — how we move, how we're seen, how we play. her practice transforms technologies of observation into invitations for expression, hand-coding every interaction.
all web design and code by hers truly.
"playtime"
interactive installation: mediapipe body tracking, projection, generative audio, curtain
playtime began as a letter to my younger self—the 12-year-old quiet girl who had so much to say but never raised her hand. i wanted to build her a stage.
but somewhere in the making, the piece outgrew me. in 2026, children are growing up in fear: gaza, congo, sudan, ice raids at school doors. a generation whose playground has been replaced by violence. playtime became about reclaiming what childhood means—the part of us that sees curtains as castles, that makes messes without apology, that plays before it performs.
technology is political. it surveils, it targets, it silences. but it can also be nurturing. this piece takes the same tools built to surveil bodies and turns them into an invitation: wave your hands, make color, hear sound respond. there are no rules, no winning. just play.
to make art from what's been weaponized against us is an act of quiet resistance. playtime is my offering—a space where logic softens into intuition, and for a few minutes, we can set aside our differences and just be kids again.
komal yadav is a seattle-based creative technologist, software engineer, and model whose work lives at the intersection of code, culture, and the body. trained in software engineering at uc berkeley and shaped by years at microsoft, she brings her technical craft to deeply human questions — how we move, how we're seen, how we play. her practice transforms technologies of observation into invitations for expression, hand-coding every interaction. all web design and code by hers truly.
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playtime began as a letter to my younger self—the 12-year-old quiet girl who had so much to say but never raised her hand. i wanted to build her a stage.
but somewhere in the making, the piece outgrew me. in 2026, children are growing up in fear: gaza, congo, sudan, ice raids at school doors. a generation whose playground has been replaced by violence. playtime became about reclaiming what childhood means—the part of us that sees curtains as castles, that makes messes without apology, that plays before it performs.
technology is political. it surveils, it targets, it silences. but it can also be nurturing. this piece takes the same tools built to surveil bodies and turns them into an invitation: wave your hands, make color, hear sound respond. there are no rules, no winning. just play.
to make art from what's been weaponized against us is an act of quiet resistance. playtime is my offering—a space where logic softens into intuition, and for a few minutes, we can set aside our differences and just be kids again.
komal yadav is a seattle-based creative technologist, software engineer, and model whose work lives at the intersection of code, culture, and the body. trained in software engineering at uc berkeley and shaped by years at microsoft, she brings her technical craft to deeply human questions — how we move, how we're seen, how we play. her practice transforms technologies of observation into invitations for expression, hand-coding every interaction. all web design and code by hers truly.
"playtime"
interactive installation: mediapipe body tracking, projection, generative audio, curtain
playtime began as a letter to my younger self—the 12-year-old quiet girl who had so much to say but never raised her hand. i wanted to build her a stage.
but somewhere in the making, the piece outgrew me. in 2026, children are growing up in fear: gaza, congo, sudan, ice raids at school doors. a generation whose playground has been replaced by violence. playtime became about reclaiming what childhood means—the part of us that sees curtains as castles, that makes messes without apology, that plays before it performs.
technology is political. it surveils, it targets, it silences. but it can also be nurturing. this piece takes the same tools built to surveil bodies and turns them into an invitation: wave your hands, make color, hear sound respond. there are no rules, no winning. just play.
to make art from what's been weaponized against us is an act of quiet resistance. playtime is my offering—a space where logic softens into intuition, and for a few minutes, we can set aside our differences and just be kids again.