Generative Images as Remembered Futures These works emerge from a slow dialogue between intuition and structure. Each image begins with a loose premise — a form, a tension, a question — and unfolds through attentive adjustment rather than control. I work with generative processes as I would with any other medium: testing balance, following rhythm, stopping when the image feels internally complete. Across different series, recurring concerns surface naturally — scale, repetition, quiet instability, the way a single resolved element can hold a much larger field together. The results are less about novelty than about coherence: images that feel discovered rather than produced, shaped by judgment, restraint, and a sensitivity to when to let the process speak and when to intervene.

Early body of graphic design projects centered on building a solid command of layout, typography, and visual hierarchy. The work spans book covers, logo design, menu systems, postcards, web graphics, and selected brand reinterpretations, alongside the first complete identity for OfToil&co Studio. Each project functions as a focused study in structure, consistency, and typographic decision-making, with attention to how systems behave across different scales and uses. The emphasis is on clarity, restraint, and the practical mechanics that make design legible, durable, and adaptable.

Black & White Photography as a study of form, contrast, and visual rhythm — reducing scenes to structure and light. This series focuses on reduction: removing color to attend more closely to light, surface, and proportion. The images are not documentary, nor strictly formal — they hover between observation and abstraction, allowing ordinary scenes to flatten into texture and contrast. What remains is a quieter record of looking.

Black & White Photography as a study of form, contrast, and visual rhythm — reducing scenes to structure and light.These photographs lean further into mood and temporal distance, where shadows stretch and subjects loosen their certainty. The series resists narrative in favor of atmosphere, letting each frame stand as a pause rather than a statement.

These drawings began as an attempt to understand quantum behavior without formulas — to let the hand think first. In following the arcs, swirls, and fractures that felt “right,” the work slipped into a strange correspondence with physics: as though the gestures remembered something older than technique. Drawing Quantum gathers these pieces — graphite, ink, algorithmic threads — into a quiet atlas of microscopic motion. Not illustrations of theory, but small meditations on how matter moves when no one is watching. Drawing Quantum explores the motion of particles through instinct rather than measurement. Each work — drawn by hand or generated through AI — maps imagined vectors, velocities, and fields, guided by the same forces that shape the body itself. The result is a series of visual studies where physics becomes gesture, and intuition becomes a method of inquiry. A gallery of forms that hum with the architecture of matter.

Color photography exploring surface, reflection, and material presence through controlled observation. Lumens is a long-form photographic practice shaped by light that moves through coastlines, cities, forests, dunes, and inland waters, guided by light as a structuring force — not dramatic, but patient and exacting. Each photograph isolates a moment where place begins to breathe on its own terms: architecture loosening into rhythm, sand and wind composing their quiet geometries, horizons thinning into color and distance. The series resists spectacle in favor of duration, allowing atmosphere to carry meaning. Seen together, these works form a visual cadence — a sequence of measured breaths — where landscape and human trace coexist without hierarchy, and where light becomes both subject and editor.

Color photography exploring surface, reflection, and material presence through controlled observation. Lumens is a long-form photographic practice shaped by light that moves through coastlines, cities, forests, dunes, and inland waters, guided by light as a structuring force — not dramatic, but patient and exacting. Each photograph isolates a moment where place begins to breathe on its own terms: architecture loosening into rhythm, sand and wind composing their quiet geometries, horizons thinning into color and distance. The series resists spectacle in favor of duration, allowing atmosphere to carry meaning. Seen together, these works form a visual cadence — a sequence of measured breaths — where landscape and human trace coexist without hierarchy, and where light becomes both subject and editor.