My work is rooted in a decades-long drawing practice, shaped by ongoing explorations of material, research, and imagery. Drawing is the primary medium through which I engage with the subtleties of both natural and theoretical worlds, offering a tactile, deliberate approach to complex ideas. This practice intertwines traditional techniques with contemporary interdisciplinary methods, including digital and AI-generated imagery, alongside scientific observation and collaboration. The result is work that bridges history and innovation, linking the physical and the conceptual.
Earlier in my career, I explored scientific concepts through collaborative, research-driven projects. My interest in cosmology, perception, and translation led me to fieldwork that merged art with scientific inquiry. Projects like Manned Mock Mars Mission and Blueshift involved partnerships with scientists and sought to communicate the complexities of scientific phenomena through visual art. These experiences laid the foundation for my continued engagement with science and technology as tools to expand visual representation.
Today, my work engages more deeply with historical motifs from ancient Greece, theoretical science, and modernist language. This approach is informed by earlier investigations into cosmological phenomena and higher-dimensional theories, such as those suggested by the Calabi Yau Manifolds, which hint at dimensions beyond human perception. My drawings reference the compression of information as these forms are translated visually from their mathematical origins.
I begin each drawing with several digital sketches, layering, merging, and reducing them into a single image. This process blends hand-drawn elements with AI-generated imagery, resulting in fragmented forms that are then unified into cohesive compositions. This distillation recalls Platonic ideals, reflecting the tension between abstract concepts and their tangible realization. Once the digital imagery is refined, I re-render it by hand using colored pencil and ink.
By combining traditional methods with digital processes, and ancient imagery with modernist language, my work bridges representation and abstraction. It invites viewers to engage with both the tactile surface and the underlying conceptual designs, fostering a dialogue between past and present, order and asymmetry. At the heart of my practice is an appreciation for simplicity—stripping content and imagery to their essential forms. Through sparse, deliberate frameworks, I aim to bridge temporal boundaries, allowing the work to transcend its immediate context. In this reduction, complexity emerges, encouraging viewers to move beyond the surface and explore the deeper structures that shape the work.
Earlier in my career, I explored scientific concepts through collaborative, research-driven projects. My interest in cosmology, perception, and translation led me to fieldwork that merged art with scientific inquiry. Projects like Manned Mock Mars Mission and Blueshift involved partnerships with scientists and sought to communicate the complexities of scientific phenomena through visual art. These experiences laid the foundation for my continued engagement with science and technology as tools to expand visual representation.
Today, my work engages more deeply with historical motifs from ancient Greece, theoretical science, and modernist language. This approach is informed by earlier investigations into cosmological phenomena and higher-dimensional theories, such as those suggested by the Calabi Yau Manifolds, which hint at dimensions beyond human perception. My drawings reference the compression of information as these forms are translated visually from their mathematical origins.
I begin each drawing with several digital sketches, layering, merging, and reducing them into a single image. This process blends hand-drawn elements with AI-generated imagery, resulting in fragmented forms that are then unified into cohesive compositions. This distillation recalls Platonic ideals, reflecting the tension between abstract concepts and their tangible realization. Once the digital imagery is refined, I re-render it by hand using colored pencil and ink.
By combining traditional methods with digital processes, and ancient imagery with modernist language, my work bridges representation and abstraction. It invites viewers to engage with both the tactile surface and the underlying conceptual designs, fostering a dialogue between past and present, order and asymmetry. At the heart of my practice is an appreciation for simplicity—stripping content and imagery to their essential forms. Through sparse, deliberate frameworks, I aim to bridge temporal boundaries, allowing the work to transcend its immediate context. In this reduction, complexity emerges, encouraging viewers to move beyond the surface and explore the deeper structures that shape the work.
