My practice embodies the friction between the raw texture of the internal self and an external world demanding total optimization. We live in an ecosystem of curated identities and predictive algorithms designed to flatten human experience into legible data points. I investigate the psychological cost of this efficiency, locating the fractures where the self cracks under the pressure to be resolved and categorized.

My process shifts between disciplined analysis and intuitive creation. I ground my practice in writing, using essays to build an intellectual structure for the work. Yet, in visual production—across digital media, sculpture, and painting—I abandon analysis for a methodology akin to Surrealist automatism. I have developed a fluency that bypasses the rigid planning typically associated with digital tools, removing the technical barrier between the subconscious and the screen. I think through the material, letting the erratic logic of the process guide me until the final form reveals itself.

Visually, I explore the territory between the visceral isolation of Francis Bacon and the synthetic realism of Trevor Paglen. Where Paglen presents the cold hallucination of machine vision, I look inward, appropriating that digital language to depict the nervous system trapped within it. This inquiry adopts the aesthetics of science fiction and fantasy not as escapism, but as realism. In a landscape where the boundary between the organic and the synthetic is dissolving, the fantastical provides the necessary vocabulary to describe the texture of daily life.

This work asserts the necessity of uncertainty. It exposes how technological systems metabolize our vulnerabilities, converting anxiety into engagement. By giving physical form to the doubts we are encouraged to hide, I challenge the viewer to resist the seduction of the smooth interface and reclaim the necessary friction of being human.