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.”
ABBA Cellular Automata
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.
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.
“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.