I make games, paintings, and projection installations that collapse the line between digital and physical space. My practice grew out of sandbox games like The Sims 3, where I spent hours customizing avatars and worlds until I noticed slippages—Sims ignoring commands, walking into cabinets, or slipping out of bounds. Who was steering: me, the avatar, or the game’s rules? That question drives projects like Text Textures, where ASCII code becomes the very skin of a game-world, avatars glitch and resist player control, and even the player’s own body is drawn in as live code.
My process loops between analog and digital, deliberately testing their edges. In Rematerialize, clay maquettes, paintings, and drawings are scanned into 3D environments, turned into textures, and then projected back onto physical objects. Each translation leaves behind artifacts—brushstrokes, dust, pixels, and missing vertices—that resist seamless assimilation. These remnants matter to me because they reveal how tightly bound the physical and digital are, and how every crossing between them generates new material.
This circulation also grounds my Into the Womb series, where digital womb-worlds built in Blender spill onto canvas. These uncanny environments are filled with objects—tampons floating like teabags, IUDs embedded like copper monuments, blood pooling into lakes that figures wade through. I was inspired by how pro-natalist imagery digitally manipulates ultrasounds—removing umbilical cords, erasing uterine walls—to construct a narrative of the womb as nothing more than a vessel. My paintings push against this flattening, remaking the womb as a site of worldbuilding rather than erasure, where fluids, devices, and figures collide in complex ecosystems.
My studio mirrors this circulation. It operates like an ever-growing inventory, where no work is final but instead becomes raw material for the next. Paintings become textures inside games; game footage wraps back onto canvas and sculpture; sculptures return as digital scans. I recycle assets, rewrite code, repaint surfaces, and re-project images, so the work feeds itself in cycles. With each pass, artifacts accumulate—brush marks, glitches, compression, dust—layering traces onto every piece.
