WRITINGS
My work exists in a speculative space between painting and sculpture, where organic and synthetic forms collide. I imagine hybrid ecosystems populated by artificial lifeforms—mutated, digital versions of poisonous or psychoactive plants—that have evolved beyond human control. These organisms are often presented in vitrines or 3D-printed sculptures, evoking the aesthetics of containment, preservation, and mutation.
Lately, I’ve been returning to painting as a way to slow down and explore ideas of overgrowth, decay, and entropy. In these works, fictional machines appear to replicate or tend to invasive flora, suggesting a future where nature is no longer natural, and technology no longer behaves predictably. I’m drawn to the collapse of artificial systems—what happens when designed ecologies fail, and something unplanned takes root.
Across media, I’m interested in the tension between structure and breakdown, simulation and reality. My process is research-based and materially experimental, with a growing emphasis on deterioration as both subject and method. Whether in sculptural forms or painted environments, I want to create spaces that feel familiar and unstable—where speculative organisms thrive in the cracks of abandoned machines or overgrown architectures.
These works are not predictions but reflections—imagining what might emerge in the aftermath of control.