An inter-disciplinary artist increasingly curious about the interrelationships of movement, composition, and pace, I’ve spent the last couple of years staking out a new path for myself by embracing animation, special effects, and interactive software into my creative process. Initially triggered by personal loss and the subsequent weariness over adding more objects to a society already stuffed to the rim, my past as a painter led me to the exploration of time-based media, and I now work exclusively with digital video-animation and public art.

Non-narrative and mostly abstract, my video-animations are by themselves perhaps best understood as “temporal digital paintings”; visually metamorphic and deliberately paced, they are open-ended vignettes of unrestricted atmosphere. Potentially real time interactive (i.e. when the opportunity to engage an audience presents itself), this new body of work is quiet and contemplative, and intended to be experienced on large-scale.

The foundation of my public projects lays in an interest in site-specificity, and I research purpose, history, location, etc., to create works in dialogue with the distinct characteristics of place, ideally complementing already existing functions, capacity, or physical structures. Previous public art projects include permanent and temporary installations in densely populated urban areas as well as smaller, suburban communities. Whether large-scale or in more intimate settings, the consideration of time, space, and place is always at the heart of my practice.