The Emotional Universe of MYURR: Inside REVON’s Expanding World

In an era where technology is rapidly reshaping the boundaries of creativity, few artists are exploring its emotional potential as thoughtfully as REVON. Blurring the lines between music, visual art, fashion, AI, and cinematic storytelling, the multidisciplinary creator is building MYURR—an evolving universe where human emotions become living, mutating entities. Rather than treating AI as the protagonist, REVON positions it as a medium for translating deeply personal experiences into immersive visual narratives, creating a world where loneliness, empathy, love, sacrifice, and transformation take tangible form.

More than a fictional character, MYURR is an emotional ecosystem: an ever-changing being that absorbs human experiences and reflects the invisible traces they leave behind. The project challenges the way we think about storytelling in the digital age, asking whether technology can deepen, rather than diminish, our connection to emotion.

For RED-EYE, REVON represents a new generation of worldbuilders who refuse to be confined by a single discipline. His work exists at the intersection of contemporary culture, speculative design, and digital artistry, opening new possibilities for how stories can be experienced across mediums.

Read our interview with REVON as we explore the philosophy behind MYURR, the creation of Agonia, the role of AI in emotional storytelling, and the ambitious vision driving one of the most compelling emerging creative universes today.

For readers discovering your work for the first time, how would you describe REVON and the world of MYURR? What was the original idea or emotion that sparked the project?

I think REVON and MYURR are not entirely separate entities. Rather, they feel like beings that were derived from a deeper part of myself. I have been making music for a long time, but at some point, I began to feel that music alone was not enough to contain everything I wanted to express. In my mind, there were not only sounds, but also images, cinematic scenes, and emotions that were difficult to explain with words.

Then I started asking myself a question.

“What would human emotion look like if it became a living being?”

There was another question as well.

“If I could visualize the emotions I feel, and the unique emotions that each individual carries, what kind of form or shape would they take?”

MYURR began from those questions.

I did not simply want to create a character. I wanted to create something beyond that. I wanted to create a being that could carry emotions such as loneliness, loss, love, empathy, and sacrifice. The first chapter of the story I am building begins with MYURR appearing in the human world. It encounters people, receives their emotions, absorbs their wounds, and gradually begins to mutate. At first, it is a small and pure being, but as countless emotions accumulate within it, its form slowly begins to change.

Through MYURR, I wanted to tell that kind of story. I feel that people living in this era are more connected than ever before, yet many of us still live with a deep sense of loneliness. On the outside, we may seem fine, but everyone carries emotions and wounds that they cannot easily speak about. MYURR was created to visually express those invisible emotions. Based on my music and scenario, I have been developing this project through various mediums and collaborations with different artists. I did not want this story to remain only as my own personal expression. I wanted it to expand through the pain, wounds, and emotions of different creators and different people.

In the end, what MYURR speaks about is not a grand fantasy. It is a story about how emotions transform us, what kind of traces wounds leave behind, and how even sadness can eventually become a new kind of beauty. Perhaps REVON is a record of my own rebirth, and MYURR is the being I created to hold the emotions I discovered throughout that process.

You describe MYURR not as a fixed character, but as a medium for visualising human emotions. Why was it important for you to create a figure that remains open to interpretation rather than defining it too rigidly?

The reason I did not want to define MYURR too clearly is because emotions themselves are not fixed. The way each person experiences loneliness, love, loss, fear, and hope is different. Even the same feeling of sadness can be a quiet longing for one person, and a deep wound for another.

That is why I did not want MYURR to be consumed simply as one fixed character. The moment MYURR becomes defined by a specific form or personality, I feel it would remain only within my own story. I wanted people to be able to project their own emotions and memories onto MYURR.

For some people, MYURR may appear as a small living creature. For others, it may feel like a wound, a shadow, a memory, or even a mirror reflecting themselves. That is also why MYURR continues to change its form, and why it is sometimes left unexplained. Just as emotions change, MYURR changes as well. To me, MYURR is not a completed character, but a being that continues to absorb emotions and transform through them. And I believe that when the audience fills those empty spaces with their own emotions, the world of MYURR becomes complete in a deeper and more personal way.

A recurring theme throughout the project is empathy, sacrifice, and emotional accumulation. What personal observations about contemporary society inspired these ideas?

I feel that contemporary society is structured in a way that encourages us to consume emotions quickly, rather than truly accepting them, looking into them, and sitting with them. At some point, I even began to wonder what the word “neighbor” really means in this era. To me, the world has become increasingly individualistic and closed off.

So ironically, although we are connected in more ways than ever before, many people still live with a deep sense of loneliness and isolation. Through social media, we can easily see each other’s daily lives, but it is much harder to truly see someone’s real emotions or wounds. I do not think speaking about our own trauma, pain, wounds, or even happiness should be something shameful or wrong. But I feel saddened by the fact that we are gradually living in a world where expressing those emotions has become uncomfortable.

On the surface, everyone may seem fine, beautiful, and happy. But beneath that surface, I believe many people are carrying unspoken anxiety, loss, sadness, and exhaustion. MYURR’s themes of empathy and sacrifice began from these thoughts. MYURR appears in the human world and receives people’s emotions and wounds, absorbing them into itself. At first, this may seem like pure empathy. But over time, those emotions accumulate inside MYURR, eventually changing its very existence.

I felt that this process resembles the way many people live today.As we go through life, we empathize with the pain of others, sacrifice for the people we love, and sometimes place other people’s emotions before our own. This can be a beautiful thing, but at the same time, it leaves invisible traces within us. I believe emotions do not simply disappear. They accumulate. Those emotions can break us down, but they can also transform us into deeper human beings. MYURR is a being that visually expresses this accumulation and transformation of emotion.

Ultimately, what I wanted to say is that empathy is not always entirely beautiful. To understand and accept someone else’s wound can sometimes mean allowing yourself to be changed by it.

MYURR’s mutation contains both the beauty and the pain of that empathy.

Your work exists somewhere between music, visual art, fashion, AI, and cinematic storytelling. Do you see yourself primarily as a musician, a visual artist, or a worldbuilder — and why?

I do not really see myself as someone who is tied to one specific title or genre. I think I am closer to someone who wants to freely express what I feel and imagine through different mediums, such as music, images, fashion, film, and AI.

Of course, the foundation of everything I create is music. I have been making music for a long time, and music is still the first way I discover and express emotion. But while building REVON and MYURR, I began to feel that music alone was not always enough to contain the world and emotions I wanted to express. I have also lived closely around music and fashion for a long time, and both have deeply influenced the way I think and create. To me, fashion is not simply about clothing. It is a way of expressing attitude, identity, and atmosphere. Film, on the other hand, feels like one of the most dimensional languages for delivering emotion and narrative.

So I do not see music, visual art, fashion, AI, and cinematic storytelling as completely separate genres. I see them as different languages for expressing the same emotion. Some emotions can be expressed through sound. Some emotions need to become images. Others may need to exist as cinematic scenes, characters, or even physical objects. MYURR is a world where all of these languages can coexist.

To me, music is the beginning, visuals are the form of emotion, and AI is a tool that allows me to bring images from my imagination into reality. Fashion, objects, and moving images are also ways of making that world feel more dimensional and alive. Ultimately, what I want to create is not simply the release of one song, but a world where the emotion that begins from music can expand into many different forms. So if I had to choose one, I would say I am both a musician and a worldbuilder — someone who builds emotional worlds through images, sound, and storytelling.

The visual identity of MYURR feels both futuristic and deeply emotional, combining AI generated imagery with almost dreamlike, melancholic atmospheres. How do you approach creating this balance between technology and human emotion?

First of all, for me, AI is not the starting point of emotion. I believe emotion is something uniquely human. So although all of my stories may be autobiographical in some way, they ultimately begin from the specific emotions I have personally felt and experienced. The diverse emotions I have absorbed through my own environment come first, and AI is used as a tool to visualize them.

I do not see AI as a special answer or a complete creator. I see it more like a brush, a camera, or an instrument. It is one possible method of expression. What matters is not simply which technology is used, but what kind of emotion can be delivered through that technology.

When creating the visuals for MYURR, I do think about the quality of the image and the newness of the technology. However, I do not want the work to remain only on that level. What matters more is what emotion each scene carries, and why that image needs to exist within the world of MYURR.

AI allowed me to bring the scenes I had only imagined in my mind closer to reality. I think its greatest possibility lies in the way it can visualize emotions and ideas that are difficult to film in the real world, or that do not have a clear physical form, such as dreams, memories, wounds, and mutation. At the same time, I believe AI must be handled carefully because AI images can become beautiful too easily. The world of MYURR cannot be explained only through images that look cool, futuristic, or visually impressive. There must always be human emotion and narrative inside them.

That is why I think AI is a medium that requires even more caution. In the end, what matters most is the intention behind it. How I choose to express something, and how I create it. I do not want to make work that simply looks technologically advanced.

When audiences see the images, I do not want their first reaction to be, “This was made with AI.” I would rather they feel something first. Something like, “This feels strangely sad,” “This feels familiar somehow,” or “This resembles an emotion inside me.” Ultimately, AI is not just a technology to me. It is a medium for giving form to the things I imagine and think about, especially emotions that have no physical shape. Technology is the tool, but the emotion contained within it comes from the human being.

‘Agonia’ marks a significant chapter in the MYURR universe. What does this release represent within the wider narrative, and what emotions were you hoping audiences would experience through it?

I see ‘Agonia’ as the first important starting point in the MYURR universe. It is the first chapter where MYURR encounters the human world and human emotions. In this story, MYURR first appears in the human world as a very small and pure being. It does not yet fully understand what human emotions are, what wounds are, or what love and loneliness truly mean.

But as MYURR meets humans and begins to receive their emotions and wounds, it slowly starts to change. Feelings such as loneliness, loss, sadness, love, empathy, and sacrifice begin to accumulate inside MYURR, and eventually those emotions transform its very existence.

Through this first story, I wanted to capture something similar to the process of human birth and growth. We enter the world as pure beings who know almost nothing, but as we live, we experience countless emotions, relationships, and wounds. All of those experiences accumulate within us and gradually change who we are. At the same time, ‘Agonia’ is also the work that captures the beginning of MYURR’s mutation.

Rather than being a song that speaks only about pain, I wanted it to hold the feeling that beauty and sadness can exist together. I wanted to show how beautiful it can be to understand and accept someone else’s wound, but also how heavy and painful that act can be. I did not want the audience to feel a grand tragedy or dramatic sadness through this work. Instead, I hoped they would feel something quiet, but long lasting.

A sadness that is difficult to explain, but somehow familiar. An emotion that may have existed inside them, but was not easy to bring out. A faint kind of beauty that still remains after being wounded. ‘Agonia’ is the story of MYURR beginning to understand humans. At the same time, it is also the story of human emotions beginning to transform MYURR.

That is why I see this work not simply as a first single, but as a scene that marks the beginning of emotional accumulation, mutation, and sacrifice within the MYURR universe.

The music video for ‘Agonia’ was created entirely using AI. What creative possibilities did AI offer that traditional production methods could not, and what were some of the biggest challenges in translating such an emotional story through this medium?

While creating the music video for ‘Agonia’ with AI, the greatest possibility I felt was the ability to bring scenes that had only existed in my imagination closer to real images. There were many scenes in this work that would have been difficult to film in reality, or would have required a great deal of time and cost through film based production methods. For example, dreams, memories, the mutation of the creature, the presence of MYURR appearing in the human world for the first time, and the atmosphere where reality and fantasy seem to blend together would not have been easy to express through conventional methods alone.

AI allowed me to experiment with and build those scenes much more freely. In particular, ‘Agonia’ was not simply a music video made to explain one story. It was closer to the first chapter of the larger story I want to tell, and a process of turning emotion into imagery through the figure of a creature. Because of that, AI played a major role in helping me quickly visualize the scenes I had imagined in my mind, explore different variations, and find the atmosphere of the world I wanted to build.

At the same time, there were also very clear challenges. AI has enormous speed and possibility when it comes to generating images, but that does not mean those images automatically contain emotion. I felt that creating a beautiful image and creating an image that truly carries emotion are completely different things.

So the most important part of the process was not simply generating images, but continually deciding why those images needed to exist, what emotions they needed to convey, and how they should connect within the flow of the music.

Because MYURR’s story contains very delicate emotions, I was also careful not to let it appear only as something strange or visually extravagant. I wanted feelings such as sadness, empathy, sacrifice, and mutation to be delivered in a quiet and lingering way, rather than being expressed too directly or too dramatically.

In the end, the greatest possibility AI offered was visual freedom, and the greatest challenge was not losing the emotional direction within that freedom. To me, the music video for ‘Agonia’ is not simply a video made with AI, but rather a first experiment in directing emotion and building a world through AI as a tool.

MYURR is evolving beyond music into a larger creative ecosystem involving artists across Europe and Asia. Looking ahead, what forms would you most like the project to explore, whether through fashion, film, installations, or physical objects?

I do not see MYURR, the IP created by myself and my team, as something that remains only as a music project or a character based project. Of course, it began from the emotions I had deeply observed and from my music. But over time, the stories surrounding MYURR have grown into a wider universe, and I feel that it has become closer to a creative ecosystem.

To me, MYURR and the project I am building exist as an open universe that can expand through many different mediums, such as music, images, video, fashion, and AI. It is also a project that is created and interpreted together with various artists, each bringing their own perspective and language. Moving forward, I want to expand MYURR through more stories, more forms, and a wider range of mediums. I am interested in developing works with physical presence, such as fashion, film, installation art, exhibitions, and figures. I am also preparing projects that people can experience directly, not only as viewers, but as participants within the world.

I also do not want this project to remain only as my own story.

Artists from Europe and Asia have already been interpreting MYURR through their own perspectives and creative languages. I find that process deeply meaningful. Even if we begin from the same emotion, each artist’s culture and personal experience can create completely different images and stories. Ultimately, what I want to create is not one completed answer, but a world that continues to change and expand.

Because MYURR is not a fixed character, but a being that absorbs emotions and mutates through them, I believe the project itself should also continue to evolve in different ways rather than remain in one form.

As MYURR expands from music into fashion, film, exhibitions, objects, and more collaborations, I hope it can become an emotional universe where different people can project their own emotions, wounds, and memories.

RED•EYE WORLD