Exploring the boundaries between the physical and digital worlds with Daniel Rozin

By Selva Ozelli Esq, CPA is an international digital asset legal expert and author of Sustainably Investing in Digital Assets Globally. Her writings are translated into 45 languages and republished in over 200 global publications. She is recognized as an expert media/TV commentator on global tax and technology matters.
The MOU issued by the SEC and CFTC during March significantly impacts the NFT collectible market by creating a "token taxonomy" that generally treats digital collectibles as non-securities. Digital collectibles that are fractionalized (providing fractional ownership in one asset) or structured with an expectation of profit from others' managerial efforts may still be deemed securities.
The SEC's 2026 interpretation clarifies that standard creator royalties do not, by themselves, transform a digital collectible into a security. However, if an NFT is marketed with promises of passive income or profits derived from the seller's ongoing management, it could still be considered part of an investment contract (a security).
The era of speculative profile picture NFT hype has subsided with this guidance offering a path to a more stable NFT market for digital artists. As part of her NFT series exclusively for Irish Tech News, Selva Ozelli asks Daniel Rozin , an Interactive Digital Artist about his six month exhibition Interference: The Interactive Art of Daniel Rozin at the Museum of Art + Light | Opening April 15 through September 25, 2026.
Interview with Daniel Rozin, Interactive Digital Artist
Daniel Rozin is an Israeli-American artist and educator based in New York City, renowned for his innovative interactive digital art and kinetic sculptures. He is most famous for his "Mechanical Mirrors"—complex installations that use cameras and sensors to reflect the viewer's likeness in real-time using non-reflective materials.
Rozin's work explores the boundaries between the physical and digital worlds, often focusing on the structure and materiality of images. A central tenet of his work is that the art is incomplete without a person; the viewer's presence and movement provide the "content" of the piece. He transforms unexpected, mundane, or natural materials into pixels. Past works such as Wooden Mirror (1999/2014): His seminal piece, consisting of 830 square wooden tiles that tilt to reflect the viewer's silhouette.
Trash Mirror (2001/2011): Utilizes flattened reflective pieces of garbage to render the silhouette of anyone who approaches.
Twisted Strips (2012)
Pom Pom Mirror (2015): Uses 928 black and white faux fur pom-poms that extend or retract via motors to create a monochromatic reflection.
RGB Peg Mirror No. 5 (2019/22)
Plant Mirror: A more recent exploration using live plants and sensors to respond to human presence through changes in light and CO2 levels.
His work has utilized wooden pegs, trash, hand fans, fur pom-poms, and even ball chains and relies on advanced algorithms and mechanical engineering, which he often conceals the hardware to maintain a sense of mystery and prioritize the tactile experience.
Daniel Rozin is represented by Bitforms Gallery in New York https://www.bitforms.art/artist/daniel-rozin and is holding a six month exhibition of his work Interference: The Interactive Art of Daniel Rozin at the Museum of Art + Light | Opening April 15 through September 25, 2026.
Tell us your journey to becoming an interactive digital artist?
I came to interactive art through a combination of craft, curiosity, and technology. I started with a background in industrial design, where I developed a strong relationship to materials and making. Later, at NYU's Interactive Telecommunications Program (ITP), I encountered computation as a creative medium.
What interested me was not the screen, but the possibility of behavior, objects that respond, systems that react. That led me to develop works where the viewer is not just observing but actively shaping the piece. Over time, this became the core of my practice.
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