My practice is largely intuitive. I draw what interests me, accumulate sketches, and figure out the composition mechanics afterward. Fragments are the result of that process: individual vector drawings built in Adobe Illustrator from zoo photography, museum taxidermy, archival naturalist imagery, and an expanding cast of intergalactic figures. Over time, the same treeline, plant form, or creature will reappear across different works. This is how a visual vocabulary gets built, through repetition and recombination rather than predetermined structure.
Taken together, these fragments form the building blocks of a larger speculative cosmology, one capacious enough to hold bears, specimens, archival sources, and alien intervention in the same frame. They exist as standalone drawings, but also migrate into print, laser etching, and installation as compositions take shape.
Taken together, these fragments form the building blocks of a larger speculative cosmology, one capacious enough to hold bears, specimens, archival sources, and alien intervention in the same frame. They exist as standalone drawings, but also migrate into print, laser etching, and installation as compositions take shape.
