Artworks
“The Sea That Stands Before Me...” @ Chinese European Art Center (CEAC)
Installation view
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me...” @ Chinese European Art Center (CEAC)
Installation view
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me...”, 2023
LED neon tubes & plexiglass, dimensions variable (7 components), edition of 2
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me...”, 2023
LED neon tubes & plexiglass, dimensions variable (7 components), edition of 2
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“It’s Not A Lot…But It’s Something” (I), 2023
3D printed acrylic & electromagnetic chrome, 14 x 20 x 19.5 cm, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“It’s Not A Lot…But It’s Something” (I), 2023
3D printed acrylic & electromagnetic chrome, 14 x 20 x 19.5 cm, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“It’s Not A Lot…But It’s Something” (II), 2023
3D printed acrylic & electromagnetic chrome, 8.5 x 20 x 19.5 cm, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"It's Not A Lot...But It's Something" (II), 2023
3D printed acrylic & electromagnetic chrome, 8.5 x 20 x 19.5 cm, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"It's Not A Lot...But It's Something" (II), 2023
3D printed acrylic & electromagnetic chrome, 8.5 x 20 x 19.5 cm, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“As Far As I Could See…” (I-III), 2023
3-channel 4K video, duration: 5:10 mins, dimensions variable, edition of 15
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"As Far As I Could See..." (I-III), 2023
3-channel 4K video, duration: 5:10 mins, dimensions variable, edition of 15
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“As Far As I Could See…” (I), 2023
Single-channel 4K video, duration: 5:10 mins, dimensions variable, edition of 15
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“As Far As I Could See…” (II), 2023
Single-channel 4K video, duration: 5:10 mins, dimensions variable, edition of 15
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“As Far As I Could See…” (III), 2023
Single-channel 4K video, duration: 5:10 mins, dimensions variable, edition of 15
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“…The Things I Never Said”, 2023
3D printed acrylic & vintage glass inkwells, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"...The Things I Never Said", 2023
3D printed acrylic & vintage glass inkwells, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"...The Things I Never Said", 2023
3D printed acrylic & vintage glass inkwells, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“These Are My Letters…Forever & Ever”, 2023
3D printed acrylic, electromagnetic chrome, vintage glass bottles, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"These Are My Letters...Forever & Ever", 2023
3D printed acrylic, electromagnetic chrome, vintage glass bottles, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"These Are My Letters...Forever & Ever", 2023
3D printed acrylic, electromagnetic chrome, vintage glass bottles, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"These Are My Letters...Forever & Ever", 2023
3D printed acrylic, electromagnetic chrome, vintage glass bottles, dimensions variable, edition of 1
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"This Is Where I Wish To Be...", 2023
Starfish specimen, electromagnetic chrome, resin spray, hundreds & thousands, dimensions variable, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"This Is Where I Wish To Be...", 2023
Starfish specimen, electromagnetic chrome, resin spray, hundreds & thousands, dimensions variable, edition of 10
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me...” @ Chinese European Art Center (CEAC)
Solo exhibition invitation card
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me...” @ Chinese European Art Center (CEAC)
Solo exhibition poster
Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.
How do we find one's dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.
The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.
When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.
Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life's cadence.
Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.
Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, "This Is Where I Wish To Be..." are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.
"...It Was Like Seeing A Fallen Rainbow" @ Galerie pompom
Installation view
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
WALL, FAR LEFT: “From Up Above…So It Is” (I), 2018
Photographic print on mirror, 165 x 120 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
WALL: “From Up Above…So It Is” (II) - (VI), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“…It Was Like Seeing A Fallen Rainbow”, 2018
Neon glass tubes & black brushed granite, dimensions variable (7 components), edition of 2
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
WALL, FAR RIGHT: “From Up Above…So It Is” (VII) and (VIII), 2018
Photographic print on mirror, 165 x 120 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“You Said It Wasn't Possible”, 2018
Melted plastic toy aeroplanes, resin spray, hundreds & thousands, electromagnetic chrome, 31 x 31 cm, edition of 10
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“You Said It Wasn't Possible”, 2018
Melted plastic toy aeroplanes, resin spray, hundreds & thousands, electromagnetic chrome, 31 x 31 cm, edition of 10
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (I), 2018
Photographic print on mirror, 165 x 120 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (II), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (III), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (IV), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (V), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (VI), 2018
Photographic print on mirror, 120 x 70 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (VII), 2018
Photographic print on mirror, 165 x 120 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
“From Up Above…So It Is” (VIII), 2018
Photographic print on mirror, 165 x 120 cm, edition of 5
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"...It Was Like Seeing A Fallen Rainbow" @ Galerie pompom
Solo exhibition poster
In a world that is in search of Utopia – reaching for such great heights – there is an uncertainty to this pursuit. In being vulnerable we become susceptible, a process which reveals its own limits.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.
"…It Was Like Seeing A Fallen Rainbow", is an exhibition connecting the loss of innocence with our reflected self. Continuing my earliest years of research into exploring the childlike psyche, this lifelong narrative is a conceptual fusion mediating my interests in psychology, philosophy and contemporary aesthetics.
Utilising aerial photography, "From Up Above…So It Is" is a vast series of cloudscapes printed upon mirrors. The compositions are in a state of free fall, drifting in the sky, passing through a prism of colour and peering into the sea. Occupying a space between disturbance and the aftermath, a rainbow is a temporary rift formed by the dispersion of light. A moment between moments.
Sitting on a bed of chiselled stone is a text-based installation created in neon. The twisted sentence spelling out the title of the show. Contrasting elements of dense, dark stone sourced from a cemetery the fluorescence of electrified glass is a play on weight and tone, content and tension.
Displayed upon a shelf is a batch of fairy bread – a favoured treat from childhood – in two different forms; a whole slice and a half slice. "You Said It Wasn't Possible", are metallurgical sculptures made from a base of melted plastic toy aeroplanes, plated in electromagnetic chrome and covered in resin-preserved sprinkles. It is layered as if to safeguard its future.