1. Can you describe your artistic process?
I work with an early form of AI as a collaborator, intentionally embracing its limitations. I guide the process with prompts and references, using its imperfections to create surreal, unsettling compositions. For me, it’s about exploring the boundaries between human intention and machine randomness. I then refine the results digitally to make the final pieces cohesive and intentional.
I work with an early form of AI as a collaborator, intentionally embracing its limitations. I guide the process with prompts and references, using its imperfections to create surreal, unsettling compositions. For me, it’s about exploring the boundaries between human intention and machine randomness. I then refine the results digitally to make the final pieces cohesive and intentional.
2. What are the central themes or messages in your work?
My work explores the behaviours and rituals of people—both as individuals and in groups. I’m fascinated by the chaos, absurdity, and sometimes questionable madness that emerges in these contexts. Growing up in a working-class environment, I often witnessed the raw energy of collective activities and the intense, often absurd nature of personal ambition. These experiences shape the surreal and thought-provoking narratives in my art.
My work explores the behaviours and rituals of people—both as individuals and in groups. I’m fascinated by the chaos, absurdity, and sometimes questionable madness that emerges in these contexts. Growing up in a working-class environment, I often witnessed the raw energy of collective activities and the intense, often absurd nature of personal ambition. These experiences shape the surreal and thought-provoking narratives in my art.
3. What inspires your creativity?
My inspirations come from a mix of surreal and cinematic sources. I’m drawn to the unsettling yet beautiful qualities in Francis Bacon’s work and the strange, layered visuals of 1970s album cover art. Directors like Tarkovsky and Chris Cunningham inspire the movement and surreal tension in my pieces. While I’m very much an oil painter as well, I approach my digital work with a similar mindset, focusing on layered complexity and depth.
My inspirations come from a mix of surreal and cinematic sources. I’m drawn to the unsettling yet beautiful qualities in Francis Bacon’s work and the strange, layered visuals of 1970s album cover art. Directors like Tarkovsky and Chris Cunningham inspire the movement and surreal tension in my pieces. While I’m very much an oil painter as well, I approach my digital work with a similar mindset, focusing on layered complexity and depth.
4. How do you envision viewers interacting with your work?
My work often invites viewers to pause and reflect, drawn in by the ambiguity of the compositions and obscured faces. While the visuals can feel slightly unsettling at first, they’re not meant to shock, but to intrigue. I believe art should leave space for personal interpretation, allowing viewers to bring their own thoughts and feelings to the experience.
My work often invites viewers to pause and reflect, drawn in by the ambiguity of the compositions and obscured faces. While the visuals can feel slightly unsettling at first, they’re not meant to shock, but to intrigue. I believe art should leave space for personal interpretation, allowing viewers to bring their own thoughts and feelings to the experience.
5. What are your aspirations for your art practice?
Right now, I’m exploring scale, experimenting with taking these works larger than I’ve done before and printing them on high-end chroma photographic paper. I want to see how the impact shifts at a much larger size compared to the smaller prints I’ve been working on. I’d also like to stage a show featuring these larger works. Beyond that, I’m experimenting with oil painting and may translate some of these pieces into that medium to explore how they feel in a new form.
Right now, I’m exploring scale, experimenting with taking these works larger than I’ve done before and printing them on high-end chroma photographic paper. I want to see how the impact shifts at a much larger size compared to the smaller prints I’ve been working on. I’d also like to stage a show featuring these larger works. Beyond that, I’m experimenting with oil painting and may translate some of these pieces into that medium to explore how they feel in a new form.