My work as a multimedia artist explores the intersection of art, science, and spirit through the lens of emergent systems — where energy, form, and consciousness coalesce into visual language.
Electrography Cellular Automata
At the core of my inquiry lies a fascination with how intelligent systems self-organize, evolve, and remember. I seek to illuminate the hidden architectures of transformation — the patterns through which complexity arises not by replication, but by disruption, reflection, and return.
Historically, symmetry in physics was tied to divine perfection — a Platonic ideal seen as evidence of cosmic order. But with the rise of mechanistic science, these associations were cast aside in favor of objective, time-reversible laws.
Yet contemporary thinkers like Michael Leyton challenge this detachment, proposing that symmetry is not static but generative — an active principle of memory, change, and creative asymmetry.
His concept of symmetry-breaking as a record of history resonates deeply with my own artistic process: the idea that matter holds memory, that disruption is the engine of evolution, and that asymmetry encodes transformation.
“Attend to what unfolds in silence. What you dismiss as a weed may carry the deepest wisdom. Clarity is born through contrast, and beauty often dwells in what the world forgets to see.”
These ideas find form in the ABBA equation — a symbolic structure I use as a compass for seeing and making. A+ represents the origin; B-, the disruptive force; b-, the emergent trace; and a⁺, the return — altered, expanded, and complexified.
ABBA Equation Cellular Automata
Portfolio
This recursive logic of emergence underpins all my media — from the imprint of light in photography to the branching patterns of electrography and the field-driven behaviors of fluid cells. Each work becomes a temporal snapshot of transformation, where matter and meaning unfold through the push and pull of opposing forces.
Photography is often viewed as a tool for documentation or representation, but it is also a deeply systemic and conceptual medium — one that actively participates in the logic of emergence.
Microscopy is more than a tool of magnification — it is a lens through which we observe the architecture of becoming. By extending the human eye into scales beyond perception, microscopy reveals worlds within worlds.
Electrography is a collaborative process between matter and force — an alchemical act in which electricity becomes the brush, and nature the co-creator. In this medium, high-voltage current is applied to botanical forms or natural materials.
Printmaking is a practice of inversion — a poetic dialogue between positive and negative space, between what is revealed and what is withheld. It is a medium where form is born from absence, where the space around the image holds equal weight to the image itself.
Magnetism is a force we feel, sense, and measure — yet rarely see. In my exploration of emergent phenomena and invisible architectures, I work with Hele-Shaw cells as a medium to visualize the hidden geometries of magnetic fields.
Phi thickenings represent a way of thinking about growth — not as linear accumulation, but as recursively structured emergence. Rooted in the logic of the Golden Ratio (Φ ≈ 1.618), these formations reflect how nature thickens, branches, and unfolds according to a deeper order.
In Nuuk, the threshold between land, water, and sky blurred into something both ancient and unfinished. This research trip was not about observation alone—it was about immersion. Every step through the shifting light, every encounter with ice and stone, was a negotiation with presence itself. Nuuk offered more than landscapes; it offered energetic signatures—fields of…
Unfurling · Patterned Growth · Sensitivity It teaches that emergence can be pre-written in form — the spiral knows where it’s going.🌀 Emergent Pattern: Growth follows memory.🌬 Message: Don’t rush the unfurling. The pattern is already within you.🌐 Emergent Theory: Ferns manifest fractal emergence — a feedback template that expands self-similarly, reading its surroundings to determine how and…
Lineage · Transmission · Pattern Recognition It teaches that we carry maps in our structure — ancestral patterns waiting to be read.🌀 Emergent Pattern: Roots echo sky.🌬 Message: Seek the pattern you’ve inherited, not to repeat it — but to transmute it.🌐 Emergent Theory: Ash embodies recursive emergence — past structures informing new decisions, with encoded feedback loops…
“Tend the flame of your spirit with care. Honor the quiet power of your subtle essence. Survival does not demand brilliance — only presence. Reflect with discernment, and root yourself where your soul can truly grow.”
Whether working with code, sound, or organic materials, I approach each medium as a living system — a dialogue between order and chaos, symmetry and rupture, memory and becoming. My art serves as a meditation on the intelligence of form, the poetics of emergence, and the recursive rhythms that shape both consciousness and cosmos.
Project Summary: In this project, I explored the possibility that random bird calls, when listened to attentively and translated through a symbolic framework, could reveal coherent narratives, archetypal structures, and even philosophical reflections on life, death, and journey.What began as an analysis of extracted audio evolved into a profound realization: birds may not just sing… Read more: Birdsong as Story: An Emergent Exploration
Across Costa Rica, Guatemala, Woodstock, and San Francisco, the fieldwork was never about recording what was already visible. It was about sensing what was trying to emerge. In rainforests, ruins, woodlands, and coastal cities, the work unfolded through sensation before symbol, field before form, listening before making. Each place offered a different threshold: abundance, memory, subtle resonance, or edge-state innovation. Together, they shaped a practice rooted in the living intelligence of land, light, and hidden pattern.
Each film on this page serves as a living document—capturing not just images, but atmospheres, impressions, and emergent patterns. These works blur the boundary between research and art, offering glimpses into landscapes, phenomena, and processes that often escape traditional forms of recording. Through careful attention to light, movement, and sensation, each piece becomes a field note in motion: a study of place, energy, and transformation. Whether documenting expeditions, creative processes, or subtle interactions with the living world, these films invite viewers to experience research as a dynamic, embodied act.
In Nuuk, the threshold between land, water, and sky blurred into something both ancient and unfinished. This research trip was not about observation alone—it was about immersion. Every step through the shifting light, every encounter with ice and stone, was a negotiation with presence itself.
Nuuk offered more than landscapes; it offered energetic signatures—fields of feeling waiting to be mapped. The camera became less an instrument of capture, and more a participant, tracing the subtle architectures of emergence that shaped the coastline, the city, and the air between.
In Kapisillit, the land itself seemed to breathe—slow, vast, and alive. Sketchbooks remained closed; the real work was done through sensation. Ice breaking in the fjord, the pull of wind across stone, the hush between mountains—all of it entered the body before it could ever be rendered by hand.
Later, these impressions returned as glyphs: stark fields of contrast where presence and absence negotiated their boundaries. Vectorizing the invisible was less about capturing a scene, and more about tracing the first vibrations of form—the memory of place before it becomes landscape.
In 2024, the world’s attention did not scatter randomly — it self-organized into visible currents of meaning. Each trending search was a signal point, a harmonic emerging from the collective field of consciousness. Together, these inquiries mapped the dynamic process of a world re-patterning itself: seeking coherence, adapting to change, and giving rise to new cultural forms. Through this lens, the events and phenomena we searched for were not just reflections of interest, but signs of a deeper, living architecture continuously unfolding through us.
Project Summary: In this project, I explored the possibility that random bird calls, when listened to attentively and translated through a symbolic framework, could reveal coherent narratives, archetypal structures, and even philosophical reflections on life, death, and journey.What began as an analysis of extracted audio evolved into a profound realization: birds may not just sing… Read more: Birdsong as Story: An Emergent Exploration
Across Costa Rica, Guatemala, Woodstock, and San Francisco, the fieldwork was never about recording what was already visible. It was about sensing what was trying to emerge. In rainforests, ruins, woodlands, and coastal cities, the work unfolded through sensation before symbol, field before form, listening before making. Each place offered a different threshold: abundance, memory, subtle resonance, or edge-state innovation. Together, they shaped a practice rooted in the living intelligence of land, light, and hidden pattern.
Each film on this page serves as a living document—capturing not just images, but atmospheres, impressions, and emergent patterns. These works blur the boundary between research and art, offering glimpses into landscapes, phenomena, and processes that often escape traditional forms of recording. Through careful attention to light, movement, and sensation, each piece becomes a field note in motion: a study of place, energy, and transformation. Whether documenting expeditions, creative processes, or subtle interactions with the living world, these films invite viewers to experience research as a dynamic, embodied act.
In Kapisillit, the land itself seemed to breathe—slow, vast, and alive. Sketchbooks remained closed; the real work was done through sensation. Ice breaking in the fjord, the pull of wind across stone, the hush between mountains—all of it entered the body before it could ever be rendered by hand. Later, these impressions returned as glyphs: stark fields of contrast where presence and absence negotiated their boundaries. Vectorizing the invisible was less about capturing a scene, and more about tracing the first vibrations of form—the memory of place before it becomes landscape.
In 2024, the world’s attention did not scatter randomly — it self-organized into visible currents of meaning. Each trending search was a signal point, a harmonic emerging from the collective field of consciousness. Together, these inquiries mapped the dynamic process of a world re-patterning itself: seeking coherence, adapting to change, and giving rise to new cultural forms. Through this lens, the events and phenomena we searched for were not just reflections of interest, but signs of a deeper, living architecture continuously unfolding through us.