After studying visual art for several years, I secured a position at the local fine arts museum, specializing in exhibit work. Over the span of two decades, I’ve actively engaged in woodworking, taking on various furniture and design projects. While woodworking has provided a solid foundation as a medium, it’s worth noting that it’s a very dusty process.

Over time, I’ve come to embrace and appreciate the diversity and sporadic nature of my work approach. Music has always been a source of solace for me. More recently, my focus has shifted toward it, encompassing two distinct aspects:

The first is a dedication to improvement within this medium, involving a deeper understanding of chords, notes, and timing. In this pursuit of improvement, I built a guitar that is more suited to what I wanted—a full-scale fretboard on a compact body.

The second aspect is music theory, recognizing its structural framework for creation across mediums. This approach naturally extended to my work in drawing and sculpture, providing a different perspective and foundation.

Inspiration draws parallels with Wasilly Kandinsky’s exploration of music at the turn of the 20th century, particularly his emphasis on color and spirituality.

I resonate with the visual implications of sound. Currently, my creative process revolves around transforming the intangible aspects of music and sound into tangible forms. I’m intrigued by the relationship between notes and sound, and their translation into visual lines and physical objects. This approach emphasizes the structural aspect, focusing on the embodiment of music and sound through lines and objects.

Moreover, this exploration has opened up new horizons for me, particularly in the realm of computer code and the exploration of computer languages. I’ve come to appreciate that ideas, much like sound, are not always static; as such they can be written and, subsequently, constructed as digital entities.