My work is about attempting to see time—in all its depths, illusions, and deceptions—in singular, sweeping views. Driven by a fear of impermanence and a persistent unease with time’s relentless progression, I try to make sense of its uncertainty through scientific research, mathematical pattern-seeking, and evolutionary mapping across deep time—from the microscopic to the cosmic.
I look for answers through these systems—identifying structures and repetitions that might suggest how time unfolds and reshapes our lives, and the persistent loss that accompanies it. This search is shaped by a growing urgency around its fleeting passage and the brevity of our time within it, and by an increasing awareness of an accelerating future marked by instability and irreversible change.
My compositions often build dense, image-rich visual fields—graphic cartographies of time—that move between moments of biological emergence and the vast scale of the cosmos. I sometimes isolate evolutionary firsts, such as the earliest flowering plants or the first skeletal structures of early life, while also compressing immense stretches of cosmic formation and expansion. Anchored in rigorous research and slow, precise mark-making, I envision the what-was, the what-might-have-been, and the what-is-still-to-come—visualizing the story of everything, all at once.
At the core of my work is the question of how to picture the unfolding of all history, how to comprehend the passing of unimaginable timescales, and our experience within them. Using time-intensive, drawing-based processes—rendering with ink on paper and engraving directly on found and salvaged glass—my intricate compositions examine the paradoxes of time: how it is perceived as a vast expanse and also as a blink of an eye; how it operates at scales both small and immense; the entropy and disorder that accompany it; and the harmonies that emerge when chaos and order converge.