Farthest Breath – Marfa Lights, 2025, Archival pigment print mounted on Dibond, walnut double frame, found objects (steel ball, broken com-pass, brass hardware), 35 x 45 x 4 inches A distant light hovers at the edge of the frame — a signal seen,

Farthest Breath – Marfa Lights, 2025, Archival pigment print mounted on Dibond, walnut double frame, found objects (steel ball, broken com-pass, brass hardware), 35 x 45 x 4 inches

A distant light hovers at the edge of the frame — a signal seen, never understood. Held in walnut and anchored by mute instruments, the image holds its breath, suspended between drift and orientation.

Sunrise-002 (Quarried Measure), 2024, Zebrawood, archival pigment print, double frame structure, gilded spray paint sediment (studio-formed), repurposed Soviet pins (gilded), Optium museum acrylic, magnets, gilded found steel. 36 x 26 x 2 inches

Sunrise-002 (Quarried Measure), 2024, Zebrawood, archival pigment print, double frame structure, gilded spray paint sediment (studio-formed), repurposed Soviet pins (gilded), Optium museum acrylic, magnets, gilded found steel. 36 x 26 x 2 inches

Accumulated spray paint sediment, extracted like stone, anchors a distant sunrise — measuring survival across forgotten labor and unreachable light.

Sunrise-003 (Measured by Traces), 2025, Zebrawood, archival pigment print (diffused sunrise), hand-traced CNC routed frame, gilded found objects, layered Optium museum acrylic, magnets, 21 x 17 x 3 inches A structure mapped not by carving but b

Sunrise-003 (Measured by Traces), 2025, Zebrawood, archival pigment print (diffused sunrise), hand-traced CNC routed frame, gilded found objects, layered Optium museum acrylic, magnets, 21 x 17 x 3 inches

A structure mapped not by carving but by traces —a memory of light held in punctured, intuitive lines.

Gaugeable Sunset, 2024, Zebrawood, archival pigment print (city sunset through skyline), gilded spray paint sediment, gilded Soviet pins and badge, layered Optium museum acrylic, magnets, 34 x 22 x 2 inches Light captured at the visible edge — a

Gaugeable Sunset, 2024, Zebrawood, archival pigment print (city sunset through skyline), gilded spray paint sediment, gilded Soviet pins and badge, layered Optium museum acrylic, magnets, 34 x 22 x 2 inches

Light captured at the visible edge — a sunset weighed against the remnants of vanished ideologies.

The Measured Half, 2025, Walnut and zebrawood, archival pigment print (apple cross-section in sunlight), painted plaster cast, painted found objects (metal fragments, organic form), layered Optium museum acrylic, magnets, rock, silver, cabinet har

The Measured Half, 2025, Walnut and zebrawood, archival pigment print (apple cross-section in sunlight), painted plaster cast, painted found objects (metal fragments, organic form), layered Optium museum acrylic, magnets, rock, silver, cabinet hardware, 28 x 37 x 3 incehs

A quiet calibration between sweetness and decay—a fruit measured not in ripeness, but in absence.

Your Distance is Light, 2025, Rosewood, walnut, archival pigment prints mounted on Dibond (Earthrise and sun photograph), gold-paint-ed USSR pin, Starrett scriber, layered Optium museum acrylic, magnets, 25 x 23 x 3 inches Earth, sun, moon, gold

Your Distance is Light, 2025, Rosewood, walnut, archival pigment prints mounted on Dibond (Earthrise and sun photograph), gold-paint-ed USSR pin, Starrett scriber, layered Optium museum acrylic, magnets, 25 x 23 x 3 inches

Earth, sun, moon, gold, glass, Starrett, and the repur-posed detritus of ideology become instruments for measuring the immeasurable.

You Are Fast, 2025, Black-stained wood, archival pigment print (starfield),found metallic objects, layered Optium museum acrylic, magnets, 40 x 30 x 3 inches I trace landscapes of distance — between stars, between memories, between presence and

You Are Fast, 2025, Black-stained wood, archival pigment print (starfield),found metallic objects, layered Optium museum acrylic, magnets, 40 x 30 x 3 inches

I trace landscapes of distance — between stars, between memories, between presence and departure— to offer a quiet place where beauty, motion, and tenderness endure without irony.

Sunset Overlay (Key to Nowhere), 2024, Black-stained wood, archival pigment print (sunset through studio window layers), copper-painted Soviet pin, black-painted Soviet medal, plaster cast of Midwest wood and stone, found key, layered Optium museu

Sunset Overlay (Key to Nowhere), 2024, Black-stained wood, archival pigment print (sunset through studio window layers), copper-painted Soviet pin, black-painted Soviet medal, plaster cast of Midwest wood and stone, found key, layered Optium museum acrylic, magnets, 36 x 24 x 2 inches

A sunset filtered through screens, glass, and forgotten boundaries; a lost key floats toward a fading light.

Lost Cat (Wandering Through Ash), 2024, Black-stained wood, archival pigment print mounted on Dibond (wildfire sun, 2023), folded vintage found photograph (Mount St. Helens eruption, 1980), gilded found object (cat figure), layered Optium museum a

Lost Cat (Wandering Through Ash), 2024, Black-stained wood, archival pigment print mounted on Dibond (wildfire sun, 2023), folded vintage found photograph (Mount St. Helens eruption, 1980), gilded found object (cat figure), layered Optium museum acrylic, magnets, 14 x 10 x 2 inches

A small cat, a distant eruption, a cooler summer — a fragile survivor wanders through ash, tracing loss and light.

My Infinite, Gaugeable, 2025, Black-stained wood, archival pigment print (bright starfield stitched from noise), found metallic objects, layered Optium museum acrylic, magnets, 18 x 27 x 3 inches It’s a gaze stitched together with noise — with w

My Infinite, Gaugeable, 2025, Black-stained wood, archival pigment print (bright starfield stitched from noise), found metallic objects, layered Optium museum acrylic, magnets, 18 x 27 x 3 inches

It’s a gaze stitched together with noise — with what the lens can’t resolve, with distances that fracture into pixels, with the silent stubbornness of wanting to see what’s not really visible.

Farthest Breath – Marfa Lights, 2025, Archival pigment print mounted on Dibond, walnut double frame, found objects (steel ball, broken com-pass, brass hardware), 35 x 45 x 4 inches A distant light hovers at the edge of the frame — a signal seen,
Sunrise-002 (Quarried Measure), 2024, Zebrawood, archival pigment print, double frame structure, gilded spray paint sediment (studio-formed), repurposed Soviet pins (gilded), Optium museum acrylic, magnets, gilded found steel. 36 x 26 x 2 inches
Sunrise-003 (Measured by Traces), 2025, Zebrawood, archival pigment print (diffused sunrise), hand-traced CNC routed frame, gilded found objects, layered Optium museum acrylic, magnets, 21 x 17 x 3 inches A structure mapped not by carving but b
Gaugeable Sunset, 2024, Zebrawood, archival pigment print (city sunset through skyline), gilded spray paint sediment, gilded Soviet pins and badge, layered Optium museum acrylic, magnets, 34 x 22 x 2 inches Light captured at the visible edge — a
The Measured Half, 2025, Walnut and zebrawood, archival pigment print (apple cross-section in sunlight), painted plaster cast, painted found objects (metal fragments, organic form), layered Optium museum acrylic, magnets, rock, silver, cabinet har
Your Distance is Light, 2025, Rosewood, walnut, archival pigment prints mounted on Dibond (Earthrise and sun photograph), gold-paint-ed USSR pin, Starrett scriber, layered Optium museum acrylic, magnets, 25 x 23 x 3 inches Earth, sun, moon, gold
You Are Fast, 2025, Black-stained wood, archival pigment print (starfield),found metallic objects, layered Optium museum acrylic, magnets, 40 x 30 x 3 inches I trace landscapes of distance — between stars, between memories, between presence and
Sunset Overlay (Key to Nowhere), 2024, Black-stained wood, archival pigment print (sunset through studio window layers), copper-painted Soviet pin, black-painted Soviet medal, plaster cast of Midwest wood and stone, found key, layered Optium museu
Lost Cat (Wandering Through Ash), 2024, Black-stained wood, archival pigment print mounted on Dibond (wildfire sun, 2023), folded vintage found photograph (Mount St. Helens eruption, 1980), gilded found object (cat figure), layered Optium museum a
My Infinite, Gaugeable, 2025, Black-stained wood, archival pigment print (bright starfield stitched from noise), found metallic objects, layered Optium museum acrylic, magnets, 18 x 27 x 3 inches It’s a gaze stitched together with noise — with w

Farthest Breath – Marfa Lights, 2025, Archival pigment print mounted on Dibond, walnut double frame, found objects (steel ball, broken com-pass, brass hardware), 35 x 45 x 4 inches

A distant light hovers at the edge of the frame — a signal seen, never understood. Held in walnut and anchored by mute instruments, the image holds its breath, suspended between drift and orientation.

Sunrise-002 (Quarried Measure), 2024, Zebrawood, archival pigment print, double frame structure, gilded spray paint sediment (studio-formed), repurposed Soviet pins (gilded), Optium museum acrylic, magnets, gilded found steel. 36 x 26 x 2 inches

Accumulated spray paint sediment, extracted like stone, anchors a distant sunrise — measuring survival across forgotten labor and unreachable light.

Sunrise-003 (Measured by Traces), 2025, Zebrawood, archival pigment print (diffused sunrise), hand-traced CNC routed frame, gilded found objects, layered Optium museum acrylic, magnets, 21 x 17 x 3 inches

A structure mapped not by carving but by traces —a memory of light held in punctured, intuitive lines.

Gaugeable Sunset, 2024, Zebrawood, archival pigment print (city sunset through skyline), gilded spray paint sediment, gilded Soviet pins and badge, layered Optium museum acrylic, magnets, 34 x 22 x 2 inches

Light captured at the visible edge — a sunset weighed against the remnants of vanished ideologies.

The Measured Half, 2025, Walnut and zebrawood, archival pigment print (apple cross-section in sunlight), painted plaster cast, painted found objects (metal fragments, organic form), layered Optium museum acrylic, magnets, rock, silver, cabinet hardware, 28 x 37 x 3 incehs

A quiet calibration between sweetness and decay—a fruit measured not in ripeness, but in absence.

Your Distance is Light, 2025, Rosewood, walnut, archival pigment prints mounted on Dibond (Earthrise and sun photograph), gold-paint-ed USSR pin, Starrett scriber, layered Optium museum acrylic, magnets, 25 x 23 x 3 inches

Earth, sun, moon, gold, glass, Starrett, and the repur-posed detritus of ideology become instruments for measuring the immeasurable.

You Are Fast, 2025, Black-stained wood, archival pigment print (starfield),found metallic objects, layered Optium museum acrylic, magnets, 40 x 30 x 3 inches

I trace landscapes of distance — between stars, between memories, between presence and departure— to offer a quiet place where beauty, motion, and tenderness endure without irony.

Sunset Overlay (Key to Nowhere), 2024, Black-stained wood, archival pigment print (sunset through studio window layers), copper-painted Soviet pin, black-painted Soviet medal, plaster cast of Midwest wood and stone, found key, layered Optium museum acrylic, magnets, 36 x 24 x 2 inches

A sunset filtered through screens, glass, and forgotten boundaries; a lost key floats toward a fading light.

Lost Cat (Wandering Through Ash), 2024, Black-stained wood, archival pigment print mounted on Dibond (wildfire sun, 2023), folded vintage found photograph (Mount St. Helens eruption, 1980), gilded found object (cat figure), layered Optium museum acrylic, magnets, 14 x 10 x 2 inches

A small cat, a distant eruption, a cooler summer — a fragile survivor wanders through ash, tracing loss and light.

My Infinite, Gaugeable, 2025, Black-stained wood, archival pigment print (bright starfield stitched from noise), found metallic objects, layered Optium museum acrylic, magnets, 18 x 27 x 3 inches

It’s a gaze stitched together with noise — with what the lens can’t resolve, with distances that fracture into pixels, with the silent stubbornness of wanting to see what’s not really visible.

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