I build installations and sculptural environments where digital media and physical materials work together to make things unstable — neither dominates, and the uncertainty comes from not being able to separate them. The physical objects I use feel like specimens or evidence: a preserved bee brought back to life through a live feed camera, baroque crown moulding extending a historical period while a black mural breaks it apart. Objects and tools have more possibilities than advertised — a scientific instrument, a found material, a sound with no relation to its image. The work is built from these misalignments.

These aren’t tricks; they’re propositions about how we make meaning and how much of perception is constructed. Viewers are held in productive confusion — meaning feels close but keeps shifting. The work is driven by what I see as a single problem wearing two faces: technological desire and ecological anxiety. I don’t resolve that tension — I inhabit it.

I let the site set the problem. I test unfamiliar materials. I don’t commit to a medium — I commit to a way of working. The installations are spaces where seduction and grief coexist, where meaning comes through being unsettled as much as through understanding.