I work primarily in digital media—vector and raster-based compositions that I translate into limited-edition and open prints on responsibly sourced materials. My practice combines precise patterning with fluid color gradations: repeatable floral modules meet unpredictable chromatic fields. The result is a body of work that lives between botanical reference and pure abstraction.

I am drawn to how color itself can organize space and mood. My pieces present floral forms as systems of light and hue, where gradients become topography and symmetry becomes a means of quiet order. I want the work to reveal relationships—to show how small shifts in tone can alter scale, depth, and emotional register. Influences range from gardens and textile motifs to color theory and digital design; what unites them is an interest in how visual rhythms shape attention.

Process matters: I build forms from simple geometric units, layer them, and then let color interactions do the heavy lifting. That involves hand-guided digital painting that introduces unexpected blends. Repetition, mirror structures, and graduated palettes are my tools for producing surfaces that feel both familiar and slightly uncanny. I pay close attention to material execution—printing with low-VOC inks and choosing substrates with recycled content—because the object and its footprint are part of the work’s meaning.

Ultimately, the work conveys a steady, contemplative energy. It is not decorative in the casual sense; it is intended to present spaces where pattern and color quietly demand another look. If a viewer pauses, notices a shift in tone, or finds a moment of calm, then the piece has done what it set out to do.