I work primarily in digital media—high-quality pigment printing—often translating those images into limited-run textiles and surface designs. My practice builds from simple botanical vocabulary: petals, leaves, axis, and repetition. I treat those forms as modules I can reconfigure, accelerate, and re-color.

What drives me is a fascination with how color rearranges perception. By placing organic silhouettes inside strict grids and exposing them to intense, shifting gradients, I reveal how a single form can read as many different things depending on its chromatic environment. This series of decisions—geometry versus growth, order versus variation—allows me to explore pattern, rhythm, and the physics of seeing without discarding the quiet familiarity of plant life. Influences range from botanical illustration and early computer graphics to color-field painting and pattern traditions found in textiles.

My process is hand-guided editing. I create modular motifs, then use color-mapping routines to sweep gradients across each cell, tuning hue rotations, luminance, and blend modes until a convincing sense of depth and movement appears. Final pieces are rendered as high-resolution pigment prints or adapted for sustainable fabric runs—I prioritize recycled substrates, low-VOC inks, and small-batch production to keep material impact low.

I make these works because color can be provocative and restorative at once. They present familiar growth forms in unfamiliar light, asking: how does a shift in color change what we notice, remember, or feel? My hope—direct and deliberate—is that these pieces spark curiosity, alter a moment in your room, and encourage a quieter, more attentive relationship with the colors and patterns that surround us.