I’m a painter working between the United States and Europe. My work traces what it feels like to inhabit systems we’ve built but no longer fully control—algorithms, platforms, and feeds that organize perception before experience has fully settled into awareness. I’m interested in how these structures shape not only what we see, but how a sense of self takes form within perception.

In my work, figures surface through gestures and zones of definition, often tangled, pierced, or interwoven within surrounding fields. Underlying structures—mesh, scaffolding, fragments of code-like order—suggest stability, while areas of focus shift across the surface and forms remain uncertain or incomplete.

I return repeatedly to organic forms—buds, branching structures, tangled growth. These forms point back to consciousness as biological and embodied: a living process unfolding within and beneath the technological systems shaping experience.

Paint is a technology too—just a slower one. Working at its pace allows perceptual relationships to emerge materially in the work. Painting becomes a way of thinking through experience rather than illustrating it.