My work explores the fluid boundaries between nature and culture, physical and virtual space, and presence and absence. I am interested in how environments are altered by technology, architecture, infrastructure, and cultural frameworks—and how these forces shape perception, memory, and lived experience. Landscapes are not neutral settings in my work, but layered spaces where geological processes, human histories, ecological change, and personal experience intersect.
I often begin with familiar places or systems of representation: a road atlas, a lake, a domestic interior, a forest, or a journey through a city. I use found materials, images, and sometimes discarded objects as points of departure. Through fragmentation, translation, and recombination, I shift these references into unfamiliar configurations. Maps are a recurring reference. Although they appear to offer clarity and orientation, they also reflect political and cultural structures that define territories, organize movement, and make land available for ownership. I disrupt the apparent rationality of this ordering, creating unstable visual topologies that move between recognition and disorientation.
I use drawing as both a material practice and a way of thinking. Charcoal and ink, alongside digital compositing, archival printing, scanned imagery, 3D modeling, and simulation, allow images to move between states. A physical drawing may become a digital environment; a map may become a spatial form; a virtual object may be encountered within the viewer’s physical surroundings. I am interested in the tension between the precision of engineered and technological processes and the intimacy, variability, and trace of the hand.
Augmented and virtual reality extend these transformations into spatial and embodied experience. Across drawing, video, animation, sound, AR, VR, and installation, I create spaces in which memory, place, ecological change, and personal experience overlap. A digital image may be encountered within the viewer’s physical surroundings through augmented reality, while a virtual environment may become an installation that viewers can enter.
My work emerges from experiences of joy and loss, as well as displacement, environmental instability, and the breakdown of familiar structures. Personal grief connects to larger forms of collective loss, including climate change, fire, flooding, extinction, political conflict, and the disappearance or transformation of precious places. I work from living spaces and local surroundings, attending to how shifts in perception can make familiar environments strange, newly visible, or difficult to recognize.
I explore how environments hold memory, how they are transformed by human and ecological forces, and how slowing down and attending carefully to the world can make room for uncertainty, connection, and new ways of seeing.