My work explores the tension between utopia and dystopia, structure and collapse, control and entropy. Across both traditional drawing/painting and generative digital processes, I investigate the thin line where systems fail, where order erodes into instability, and where idealism is undermined by its own contradictions.

I see my drawing and painting practice as a playground—a space to test new forms, ideas, and compositions, where chance and imperfection create moments of unexpected meaning. These works often reference architectural fragments, speculative cityscapes, and shifting spatial logics. Some suggest utopian possibility, while others are interrupted by erasure, distortion, or an awareness of their own fragility.

Conversely, my generative work embraces the logic of machines—algorithms, automation, and computational systems—but only to reveal their inevitable misfires, glitches, and structural flaws. I use code to build environments that appear ordered at first glance, but upon closer inspection, exhibit breakdown, corruption, or a quiet rebellion against their own rules.

Between these two modes of working, there exists friction—a space where control is tenuous, where utopian forms collapse, and where the hand and the machine negotiate their shared failure. Rather than positioning the digital and the analog in opposition, I allow one to infect, distort, and inform the other. My generative works borrow from the immediacy and imperfection of drawing, while my paintings absorb the systemic logic of coded structures, resulting in compositions that teeter between the mechanical and the organic.

At its core, my work is about the illusion of stability in systems of power—whether architectural, technological, or political. Utopian visions are always structured around control, but history has shown that control is fragile. The cracks form slowly, then all at once. The question is not whether these systems will fail, but who they were built to serve, and who will be left in the ruins when they do.