As a digital artist, my work explores transformation and perception through the lens of technology. I use color and abstraction to visualize the invisible connections between living entities, creating works that transport viewers beyond their surroundings. At its core, my practice affirms a sense of shared humanity by expressing the interconnectedness that runs through us all.

​

Each series in my practice begins with a central question, inspired by research in academic disciplines, culture, or my research photography. My visual language is composed of geometric and organic shapes of saturated color which form dynamic compositions. Each series stands on its own integrity while contributing to the larger body of work.

​

My interests are also shaped by movements in art history. Pop Art influences my use of bold, simplified forms that engage viewers directly and accessibly. Fluxus, with its emphasis on process, chance, and collective experience, inspires me to treat art as an open-ended exchange. Both movements remind me that art can be playful, inclusive, and deeply human while still addressing complex ideas.

​

My process is both intuitive and precise. I document impulses of visual curiosity through photography, which helps define my subjects of interest and occasionally becomes source material. From there, I move into digital synthesis using digital imaging and generative AI tools. AI functions as a muse, generating abstract grids that I treat like inkblots to reach subconscious associations. I then refine these sparks through digital drawing and collage until they resolve into cohesive compositions.

​

The precision of digital tools allows me to create shapes that would be impossible to achieve by hand, giving form to the balance of geometry and organic rhythm that defines much of my work. Working digitally also means each artwork can scale to any size, shift proportionally for different sites, and evolve as a library of visual elements grows. This adaptability makes my practice particularly suited to public and institutional contexts, where works must meet diverse needs while retaining clarity and impact.

​

Fabrication is an extension of my creative process often working with acrylic face mounts, aluminum, and adhesive vinyl at variable dimensions. These materials are durable, easy to clean, and meet museum-grade standards, aligning with the demands of healthcare and public spaces. The luminosity and surface quality of these formats also heighten the vibrancy of color, reinforcing the vitality that runs through my work.

​

Neuroaesthetic research confirms that abstract and nature-based imagery can reduce stress and support well-being. I embrace this evidence as part of my practice, creating art that is both visually compelling and clinically relevant. Rather than reflecting narratives of technological alienation, my work proposes an optimistic vision of the future, one where creativity and imagination are catalysts for renewal.

​

I create art that offers moments of transformation. Some works invite reflection through idealized landscapes that omit human-made elements, allowing viewers to immerse themselves in nature. Others energize through vibrant abstraction, opening space for personal interpretation and conversation. Together they create experiences that transport people beyond their immediate surroundings and affirm art as a vital, healing force.