metal, resin, cement, auto paint
185 cm
2025
seed i is the first fully realized sculpture in the seeds series. constructed at human scale, it merges industrial materials with a high-gloss automotive finish, balancing surface precision against structural weight.
the form oscillates between monolith and membrane—flat planes giving way to gestural curves, suggesting a volume withheld. despite its underlying tension, the object holds a quiet serenity, as if stabilized by its own internal logic.
a single blue sphere is embedded near the base: a chromatic interruption, signaling communication, presence, and pause.
neither figure nor object, seed i operates as speculative architecture—a structure built to hold contradiction in equilibrium.
acrylic on canvas
48 × 36 in.
2022
seed 4.1 is part of the early development of the seeds series, where symmetry, surface, and psychological containment converge. a jagged white void slices through a dense field of textured black. the form appears precise, yet slightly unstable—measured by intuition rather than instrument.
the painting’s white shape acts as both figure and rupture: a central axis that threatens balance even as it anchors the composition. texture accumulates at the edges, turning the black surface into a kind of static—suggesting friction, buildup, or interior unrest.
like others in the series, seed 4.1 offers no clear symbolism. instead, it functions as a visual proposition—a structure built not to express emotion, but to hold it. restraint becomes its own language. the result is a painting that feels suspended in tension: a standoff between collapse and control.
digital animation
2024
seed xv belongs to an ongoing investigation into speculative form and symbolic systems. derived from an initial freehand drawing, the work underwent multiple stages of digital processing across five programs, culminating in a slow-moving animation that hovers between diagram, relic, and prototype.
this piece continues the seeds series’ central inquiry: how structure, repetition, and disruption can give rise to ambiguous forms that resist fixed categorization. though materially immaterial, seed xv asserts objecthood—its presence defined not by function but by resonance.
sculptural concept
2024
the seed pools extend the logic of the seeds series into three-dimensional space, proposing functional forms that operate as both architecture and artifact. conceived as modular, inhabitable sculptures, each pool explores the tension between utility and enigma—evoking ceremonial basins, voids, or spatial thresholds.
though unrealized in physical material, the forms are rigorously modeled and structurally plausible. intended for fabrication in solid white marble, their exaggerated proportions and excessive mass disrupt conventional spatial logic and reframe the body’s relationship to volume, scale, and containment.
acrylic on canvas
48 × 36 in.
2022
seed 4.2 compresses a jagged, symmetrical form into a compact visual mass. its geometry resists stillness—each edge slightly off-register, as if caught mid-contraction. part emblem, part shield, the figure floats against a field of dense black texture, held in tension by its own containment.
painted freehand in black acrylic, the composition relies on intuitive calibration rather than measured precision. the silhouette is graphic, but unstable—oscillating between containment and rupture. the surrounding black surface acts as a charged field: textured, uneven, and resonant with static.
as with others in the seeds series, seed 4.2 does not offer clarity of reference. it functions as a symbolic object—something simultaneously defensive and communicative. line becomes boundary, surface becomes signal. the painting is not expressive in a traditional sense, but holds an emotional frequency through its structure alone.
acrylic on canvas
48 x 36 in.
2022
seed 4.4 marks a shift in scale and spatial orientation within the seeds series. composed in a stark black form against a white ground, the painting presents a flattened silhouette—jagged, symmetrical, and suspended—suggesting both containment and rupture. the structure feels deliberate yet volatile, its edges simultaneously enclosing and slicing into the surrounding field.
realised without taping or mechanical aid, the geometry maintains a tension between exactitude and improvisation. the exposed canvas amplifies this dynamic, transforming absence into presence and surface into atmosphere. the form reads as a glyph or schematic—something at once intimate and remote, encrypted but legible.
within the visual logic of the series, seed 4.4 behaves as a boundary object: something that mediates between inner disorder and outward clarity. it holds contradiction without resolving it—operating as a site where compulsion meets control, and silence becomes a form of signal.
seed 3.3
acrylic on canvas
24 x 18 in.
2022 — held in a private collection
seed 3.3 explores internal pressure through a compact, bilateral form rendered in black acrylic on canvas. the geometry appears clenched yet deliberate, its symmetry suggesting calm while its jagged perimeter implies agitation. tension is not a byproduct here—it is the structure.
executed freehand, the painting resists mechanical polish while maintaining formal clarity. the black shape sits in high contrast against the unpainted ground, which acts not as background but as active space—amplifying both the weight of the form and the silence around it.
within the seeds series, seed 3.3 operates as a compressed proposition—a diagram of containment, control, and unresolved energy. like others in the series, it draws from emotional compression and architectural discipline, using structure as a vessel for psychological force.
digital animation
2024
seed x continues the seeds series’ investigation into structure, symbolism, and speculative design. derived from an initial freehand drawing, the form was developed through a layered digital process—refined across multiple software environments and animated into slow, rotational motion.
hovering between glyph and relic, the work resists categorization. its symmetry feels ceremonial, while its contours remain ambiguous—at once diagrammatic and organic. as with other entries in the series, seed x asserts objecthood through resonance rather than function.
set against a soft, undulating ground, the form’s movement is deliberate, ritualistic. its slow spin invites prolonged viewing, creating a tension between meditative stillness and perpetual motion.
though immaterial, seed x behaves like an artifact: precise, symbolic, and unresolved—suggesting a fragment from a larger cosmology yet to be named.
acrylic on canvas
24 x 18 in.
2022 — held in a private collection
seed 3.1 marks a pivotal moment in the seeds series—where gesture, symmetry, and surface tension converge into a distilled graphic presence. painted in a single tone of black acrylic on unprimed canvas, the form asserts itself with sharp angles and measured negative space, balancing visual density against exposed ground.
the horizontal orientation emphasizes lateral force: the form stretches across the canvas like a bracket or beam—at once containing and extending. rendered freehand, its geometry is precise yet imperfect, holding the subtle asymmetries that distinguish each work in the series.
texture accumulates in the black regions, where pigment settles into the weave of the canvas, generating a surface that hums with static energy. this tactile contrast heightens the composition’s psychological charge—evoking an atmosphere of restraint, focus, and quiet tension.
neither entirely abstract nor fully symbolic, seed 3.1 operates as a visual hypothesis: structure as a method of containment, form as a strategy for equilibrium. it offers a glimpse into a larger system—emotional, architectural, unresolved.
digital animation
2024
seed v is part of an ongoing inquiry into speculative form, psychological architecture, and the poetics of repetition. the animation emerged from a hand-drawn sketch, reworked through five digital programs to produce a slow-moving structure that resists fixed reading. neither fully machine nor entirely organic, the form hovers in ambiguity—part relic, part prototype.
visually, the piece operates through layered contradiction. rigid symmetries give way to subtle asymmetries, while its rotational pacing evokes both ritual and malfunction. despite its digital nature, seed v asserts physical presence—an object rendered in time, not space, holding the stillness of a monument and the motion of a signal.
like others in the seeds series, it maps internal states through formal systems. structure and disruption co-exist not as opposites, but as interdependent logics. seed v occupies a speculative territory: a diagram animated into being, where the desire for communication emerges from the friction of containment.
acrylic on canvas
24 x 18 in.
2022
seed 3.4 continues the formal and psychological logic of the seeds series, foregrounding symmetry, compression, and internal tension. painted in black acrylic on unprimed canvas, the shape appears compressed yet directive—pushing outward while folding in on itself. realised freehand, the geometry resists mechanical perfection while maintaining visual control. its bilateral symmetry is offset by subtle irregularities, giving the work a sense of lived precision—exact enough to feel architectural, loose enough to feel human.
the surface reads almost like a signal or schematic, a diagram rendered in tension. pigment saturates the central form while the surrounding canvas remains exposed, allowing the raw ground to act as negative space—a silent participant in the composition.
seed 3.4 functions as both glyph and shield: abstract yet confrontational, protective yet permeable. like others in the series, it belongs to a visual system designed to hold contradiction—where structural order becomes a vessel for emotional force.
acrylic on canvas
24 x 18 in.
2022 — held in a private collection
seed 3.7 advances the seeds series’ investigation into symmetry, structure, and psychological compression. its form is direct and declarative: a black shape rendered with sharp interior angles and a tense vertical axis. the composition suggests a diagram or portal—functioning less as an image and more as a visual threshold.
painted freehand, the piece balances rigor with irregularity. the black acrylic saturates the canvas surface while leaving its outer margins exposed, generating contrast not just in color but in pressure—between what is enclosed and what is left open.
in this work, geometry becomes language. seed 3.7 operates as a visual syntax for internal states: desire for containment, tension through repetition, and the quiet pull toward equilibrium. it’s a form built to hold contradiction—anchored, yet always on the verge of rupture.
acrylic on canvas
24 x 18 in.
2022 — held in a private collection
seed 3.5 presents a taut, symmetrical structure rendered in deep black acrylic. its contours form a dense, shield-like figure—anchored and opaque—suggesting protection, resistance, or enclosure. the geometry feels deliberate yet psychologically charged, as if shaped under pressure.
painted directly onto canvas without taping or mechanical tools, the form reveals its precision through restraint. each edge holds tension, not through perfection but through consistency—line and proportion disciplined into presence. the exposed margins frame the black mass like silence around speech.
within the seeds series, seed 3.5 reads as both glyph and container: a static object holding dynamic force. it proposes a language of inwardness—where control becomes a method of survival, and form serves as architecture for affect.
acrylic on canvas
24 x 18 in.
2022 — held in a private collection
seed 3.6 is one of the most architecturally restrained works in the series, defined by a symmetrical black form whose geometry feels both fixed and speculative. its silhouette resembles a schematic or crest—compressed, static, and formal—yet hints at internal movement, as if vibrating beneath the surface.
the black acrylic sits heavily on the canvas, absorbing light and commanding space. its hand-painted lines maintain a mechanical clarity without the aid of mechanical tools, producing a tension between human error and structural insistence. the result is not perfection, but a studied compulsion.
in the context of the seeds series, seed 3.6 functions as a stillpoint: a visual pause that sharpens the language of the group. here, containment is compositional, emotional, and spatial—a shape that holds, withholds, and quietly signals through its own constraint.
acrylic on canvas
48 x 36 in.
2022
seed 4.3 presents a pale form stretched across a dense black ground—symmetrical in theory, but slightly destabilized in execution. its shape pushes outward, pressing toward the canvas edges, as though testing the limits of its own container. balance is pursued, not enforced.
the work belongs to the early development of the seeds series, where forms were composed freehand with no external aids—relying solely on internal calibration. here, the white figure behaves like a schematic: a graphic presence that’s both assertive and unresolved. its proportions suggest a body, a symbol, or a threshold—but never settle into any one reading.
texture accumulates along the black surface, animating the negative space with subtle static. this contrast between stillness and agitation heightens the painting’s psychological charge: a visual standoff between expansion and restraint.
like others in the series, seed 4.3 proposes structure as a coping mechanism—an abstracted architecture built not for shelter, but for holding tension. it is a visual system forged through discipline, pressure, and emotional compression.
acrylic on canvas
20 × 16 in.
2022 — held in a private collection
seed 2.6 features a centered, symmetrical form rendered in dense black acrylic. its shape is sharply cleaved—geometric yet gestural—evoking both symbol and obstruction. the visual language suggests something infrastructural, like a gate, bracket, or hinge: a structural element with implied purpose, but no declared function.
the painting is executed freehand, with lines that remain rigorous while retaining slight irregularities—evidence of the body in the act of control. black and white are in direct confrontation, creating a perceptual tension between presence and void, pressure and release.
as with other works in the seeds series, seed 2.6 acts as both image and container: a compressed space where internal dynamics are held in balance by external form. it’s not a picture of something, but a proposal for how psychological structure might be made visible.
acrylic on canvas
20 × 16 in.
2022 — held in a private collection
seed 2.5 offers a compressed and symmetrical black form—blunt, bracketed, and held tightly within the white margins of the canvas. its shape suggests function but denies legibility, hovering between glyph and architecture, refusal and containment.
the acrylic is applied with density and care, forming an opaque surface that absorbs light and attention. executed freehand, the painting resists polish while maintaining control—revealing a tension between human touch and structural ambition. its balance feels deliberate, but not serene.
within the seeds series, seed 2.5 reads as a compact proposition: form as pressure, symmetry as strategy, and abstraction as a method of regulating what cannot be directly expressed. it is a quiet object, but not a passive one—defined by what it withholds.
acrylic on canvas
24 x 18 in.
2022
seed 3.9 introduces a tall, tapering black form—rigid yet asymmetrically inflected. it stands upright, like a totem or tool, with slight inward cuts that suggest both vulnerability and grip. the result is a form that implies utility, though none is offered.
applied freehand, the black acrylic maintains its density across subtle variations in contour. the white of the canvas frames the figure like a field of silence, amplifying the graphic directness of the shape. its sharpness feels psychological—an insistence rather than an invitation.
positioned within the seeds series, seed 3.9 leans toward verticality and assertion. it embodies the ongoing inquiry of the series: how form can carry emotional and symbolic weight without becoming illustrative. a solitary shape rendered as structure, signal, and shield.
