Origins

I’ve been drawing since I was a kid—starting around the age of six—and it has remained a constant thread throughout my life.

Alongside that, I began coding in high school. These two practices—visual art and systems thinking—developed in parallel and continue to shape how I approach my work today.

The Work

My practice spans both detailed linework and abstract exploration.

Some pieces are highly structured—built through dense ink, precision, and layered environments that suggest narrative and world-building. Others move toward abstraction—exploring color, composition, and surface through acrylic and mixed media.

More recently, I’ve focused on abstract painting—using color relationships, texture, and layering to create work that is less about representation and more about sensation and balance.

Across all mediums, the work is driven by a tension between control and unpredictability—systems and intuition.

Each piece is part of an evolving process of experimentation, refinement, and discovery.

Process

My work is iterative by nature.

Rather than aiming for a fixed outcome, I approach each piece as a system—built layer by layer, mark by mark. Decisions emerge through interaction with the work itself, allowing the final result to evolve over time.

This process is deeply influenced by my background in design and engineering:

• Systems thinking
• Pattern recognition
• Exploration through constraints

The result is a body of work that sits between disciplines—structured, but expressive.

Background

My path has moved fluidly between art, music, and technology.

I earned an MFA in Design and Technology from Parsons School of Design, where my thesis explored generative audio-visual creatures driven by body movement—combining sound, visuals, and interaction into a responsive system.

I’ve built generative visual systems for live performance—VJing for underground electronic, breakcore, and industrial shows, and collaborating with artists like Speak Onion on live sets and music videos using custom tools built with Processing and Resolume Arena.

As a software engineer, I’ve worked on creative tools and interactive experiences—including building features for an online DAW, as well as contributing to interactive and game-based projects.

Earlier in my career, I worked as a digital illustrator, animator, and designer—creating artwork for a rock music magazine, freelance clients, and a range of multimedia projects including branding and music composition for educational media and film.

I’ve also taught Creativity & Computation at Parsons, helping students explore the intersection of code and creative practice.

Music

Music has been a parallel creative practice throughout my life.

I started with electric guitar in my early teens and expanded into bass, drums, keys, and voice. I’ve performed live as a vocalist in a funk-metal band and collaborated across a range of musical and visual projects.

Today, I write, record, and produce original music using Logic Pro—blending structured composition with experimentation and sound design.

This practice continues to inform my visual work—particularly in rhythm, layering, and composition.

Why This Work Exists

This practice began as a way to reconnect—with creativity, with process, and with myself.

What started as a reset has become an ongoing exploration.

If something in the work resonates with you, I’m glad you’re here.