My Process
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My process begins long before I touch a surface. I spend time researching environmental issues, technological shifts, and the tensions they create in our daily lives. These ideas filter into my subconscious, where they mix with observations from nature, sounds, textures, and patterns I collect during walks or travel. Once in the studio, I let intuition take over. I start with improvisational gestures—random markings, drips, stains, and color fields that emerge without a predetermined plan. This sets a foundation for discovery.
From there, I build through layers. I incorporate discarded materials, textiles, papers, glass elements, and digitally generated fragments, allowing each layer to inform the next. Repetition becomes a central action: I repeat patterns, shapes, and gestures not only for their symbolic meaning, but because the act itself is meditative and helps me access deeper subconscious connections. I move between large expressive sweeps and meticulous detail, shifting scale to create a sense of rhythm, tension, and visual dialogue.
As the piece evolves, I respond to accidents—tears, spills, distortions, unexpected visual moments. This echoes my Dada and automatist influences, where the unplanned can become the heart of the composition. I intentionally leave room for contradiction: the organic with the digital, the fragile with the bold, the analog with the augmented.
In the final stages, I often integrate augmented-reality animations that extend the piece beyond its physical boundary. These digital overlays add movement, sound, or narrative layers that deepen the viewer’s experience and speak to the increasingly hybrid nature of our world.
My process is cyclical, fluid, and intuitive—an interplay between research and spontaneity, material constraint and conceptual intention. Each work becomes a record of exploration, labor, and reflection, shaped by curiosity and the ongoing conversation between humanity, technology, and the natural world.
From there, I build through layers. I incorporate discarded materials, textiles, papers, glass elements, and digitally generated fragments, allowing each layer to inform the next. Repetition becomes a central action: I repeat patterns, shapes, and gestures not only for their symbolic meaning, but because the act itself is meditative and helps me access deeper subconscious connections. I move between large expressive sweeps and meticulous detail, shifting scale to create a sense of rhythm, tension, and visual dialogue.
As the piece evolves, I respond to accidents—tears, spills, distortions, unexpected visual moments. This echoes my Dada and automatist influences, where the unplanned can become the heart of the composition. I intentionally leave room for contradiction: the organic with the digital, the fragile with the bold, the analog with the augmented.
In the final stages, I often integrate augmented-reality animations that extend the piece beyond its physical boundary. These digital overlays add movement, sound, or narrative layers that deepen the viewer’s experience and speak to the increasingly hybrid nature of our world.
My process is cyclical, fluid, and intuitive—an interplay between research and spontaneity, material constraint and conceptual intention. Each work becomes a record of exploration, labor, and reflection, shaped by curiosity and the ongoing conversation between humanity, technology, and the natural world.
