I work primarily in large-format pigment prints, and repeat textile designs—where geometry and chroma drive the work. My practice uses modular composition to produce patterned fields that are both precise and mutable. I also translate many of these images into physical form, printed with low‑impact pigments on recycled or sustainably sourced substrates.

What excites me is the way color and repetition can shift perception: a single motif can appear to breathe, rotate, or resolve into new shapes as you move closer or step back. I draw on sources ranging from optical art and textile traditions to natural fractals and the refractions of light through glass. These influences feed a desire to explore how structured systems—grids, symmetry, tessellation—can generate unpredictable visual effects and quiet surprises.

My process is hands-on editing. I develop routines that map gradients, mirror modules, and introduce controlled variants; then I intervene manually to adjust scale, pace, intensity, and palette until the composition achieves the intended tension between order and flux. Layering translucent forms and calibrated color shifts create a sense of movement.

Sustainability is part of the work: I choose materials and production methods that minimize environmental impact and partner with local fabricators whenever possible. Practically, that means limited editions, archival pigment inks with lower VOCs, and fabrics or papers with recycled content.

Across the body of work I present patterned, color-driven environments that reveal themselves over time. I want viewers to notice small changes, to question what is static and what is shifting, and to carry a renewed awareness of color, form, and the material choices behind the object.