About my Practice
My foundation began in the Adirondacks, surrounded by the physical records of change: the shift of light, freeze-and-thaw cycles, and the transformative quiet of winter snow. That fascination followed me to college in Buffalo, where industrial facades wore decades of salt, rust, and weather.
These environments taught me to see material surfaces as records of time. Today, my studio work channels that same textural storytelling—capturing how environments, materials, and moments leave their signature behind.
About my Practice
My foundation began in the Adirondacks, surrounded by the physical records of change: the shift of light, freeze-and-thaw cycles, and the transformative quiet of winter snow. That fascination followed me to college in Buffalo, where industrial facades wore decades of salt, rust, and weather.
These environments taught me to see material surfaces as records of time. Today, my studio work channels that same textural storytelling—capturing how environments, materials, and moments leave their signature behind.
Transformation is the medium. Whether over minutes or months, my installations are designed to evolve and decay directly within the gallery space.
I build these systems using the raw materials that defined civilization: bread, salt, petroleum, and cotton. Each carries monumental historical weight—from the dawn of agriculture to the machinery of global industry. Setting them in motion allows their physical breakdown to tell a story about impermanence, resource power, and human progress.
Releasing control of the final object turns art-making into a pseudo-scientific inquiry.
I study the raw material science, logging records of growth and decay, and translate that empirical data into digital form. From thermal mapping to custom 3D modeling, this digital bridge allows the material to imprint itself into virtual space with that same hands-off, organic unpredictability.
Today, I am pushing digital modeling to behave with the exact same volatility as my studio practice. I don’t just sculpt in 3D; I subject the virtual mesh to growth and erosion.
Translating raw point clouds into intentional form led me to develop an open-source toolchain using MeshLab and CloudCompare and Blenders node based procedural modeling, balancing digital unpredictability with precise mesh control.
The end goal isn’t just a digital model—it’s physical weight. I am currently calibrating print tolerances and custom machining paths to bridge polygon models with foundry practices, using printed PLA as lost-wax replacements. It closes the loop: turning fleeting environmental data into permanent, large-scale public castings.
To explore how a mesh should erode, I built a custom node-based tool using Dear PyGui and proprietary image-processing scripts.
Instead of a rigid linear pipeline, the node system lets me visually chain modifiers—fluidly deciding which data survives, which parts stay, and what gets carved away.
While developed to drive 3D geometry, the software began yielding striking, unintended 2D artifacts. The processed image passes, depth maps, and intermediate data layers hold their own graphic weight—becoming standalone 2D works that document the computational degradation step-by-step.
