My paintings merge traditional and digital art techniques, reflecting my lifelong relationship with technology.
My work began with early computing—from punch cards to today’s seamless operating systems—and this evolution drives my interest in how digital imagery in art shapes perception and behavior. I’m fascinated by the ways we rely on technology and how it influences the way we see, remember, and interact with the world.

In my studio, I combine hand painting with digital tools, using both smartphone photos and scanned mid-20th-century photographs as source material. These images are transferred to the painting surface with a printer, which I treat as an extension of my brush. The process is intentionally unpredictable; ink can shift and change, introducing tension and movement that become part of the final work. Much like code written to mimic the brain’s ability to process light, my paintings explore how humans and machines interpret and reshape visual information.

I attempt a balance between control and chance, precision and fluidity. For me, this reflects both the nature of perception and technology itself—constantly evolving, sometimes unstable, yet always shaping the way we see and understand the world.

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The wall installations employ similar concepts embodied by the paintings but differ in that they are deliberately designed to disappear. A printed image is transferred directly to a wall that has been prepared to allow the absorption of ink into the surface. With the presence of light, the recreated wall image begins to disintegrate soon after it comes into existence. The fade is a slow process, but in essence starts from the moment of existence, with the primary emphasis on transience.