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I cast spells that open portals to strange worlds. Come follow me...

Art is an action: the offering of an experience. The effect it has, or the place it takes you, is personal. The artist might or might not be trying to create a particular response, but in the end it’s a personal relationship between viewer and piece.

As a consequence of this, any given piece of art can be appreciated in many different ways, even by a single person. For one it might conjure emotions, for another it might be about color or light, for yet another the response might be kinesthetic, or intellectual, or any mix of these. The comprehension of art is personal. That is part of its beauty.


As with any artist, my primary tool is my imagination. But my process for bringing what I imagine into the real world is a bit atypical.

What is my process? It’s magic, in a way. I cast a modern version of a spell to manifest what I have imagined. I carefully record the spell, using strange, esoteric languages. Once I cast the spell, I must be sure to take charge of whatever it conjures, shaping and controlling its actions. Next, I step into the world the spell brings forth; a world of many qualities: shapes, colors, light and shadow. I enter with an explorer’s mindset, looking for gatherings of these qualities that speak to me. As I wander, I might alter my spell a bit to explore the range of what it can conjure. Finally, I use a magical camera to take pictures of whatever touches me with its own reciprocal spell.

That stage of my process is similar to a photographer wandering in nature, perhaps with no particular goal at first, but willing to be led forward and enchanted by the landscape itself, creating a collaboration between landscape and artist.

Now, to demystify this "magic" just a bit, my spells are cast in code written in esoteric languages with names like Java and Python. Computer code is arguably the most powerful magic modern people have ever created. While it is often used for mundane or commercial purposes, there are practitioners of these mysterious arts who use it to create art, as I do.



My personal interests have always spanned the space between art and science. While this may be unusual or even frowned upon in our age of specialization, historically there has been a much more organic flow of ideas between these two areas of human endeavor. Thinking of them as separate realms is a modern conceit, which I do my part to dissolve. Conceptually, my work often has a mathematical or scientific aspect in the inspiration phase, while the particulars of any given piece are driven by aesthetic considerations.


My two-dimensional work often involves layering many similar elements, each of which might be nearly invisible. Together these build up into a surprising emergence of action, light, shadow, color, depth, and form. I see this as reflecting nature’s way: creating the vast variety and complexity of all that fills the world by combining staggering numbers of relatively simple elements. Think of plants and animals made of cells, stars and planets made of dust, and galaxies made of stars. The universe is the ultimate work of art, and my  technique is a humbled imitation of nature’s way.


My background includes architecture, physics, software, art, and writing. In the last two decades my work has spiraled in more artistic directions through printmaking, bronze casting, and writing custom software for my artistic explorations. More recently, I have been enjoying participating in the Bridges organization, which brings together an international group of people with a multidisciplinary bent who insist on connecting the aesthetic dots between the arts and the sciences. I have exhibited work in various venues in the U.S. and abroad, and even won a few prizes along the way.

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