prints
2026

I’ve been experimenting with intaglio printing, copper plates, etching tools, ink, and a lot of trial and error. I’m less interested in perfect results than in what happens when you let the plate guide the process. The bite of the acid, the drag of the wiper, the way ink catches in a drypoint burr, it all becomes part of the image. Each print feels like a conversation between pressure, texture, and chance. What comes out is a record of that back and forth, proof by proof.

objects
2025

I’ve been making objects with glass and tin, pushing how the two materials meet and resist each other. Glass brings transparency, fragility, and fluidity, while tin adds structure, softness, and a quiet industrial feel. I’m interested in the moments in between, where the rigid meets the molten, where one material supports or interrupts the other. Each object comes from a back and forth of heating, forming, and letting things cool on their own terms. Every piece is a small record of that material dialogue, shaped by heat, time, and chance.

glass
2026

I’ve been experimenting with glass, combining laser engraving and sandblasting to shift how image and surface interact. I start with abstract forms digitally, distorting, repeating, or breaking them down before transmitting the file through the laser engraver. The beam hits the glass, leaving behind a fine, permanent fracture of the original image. Then I take it further with sandblasting, carving deeper into the surface, softening or erasing parts of the engraving. Each piece is a layered record where digital precision meets physical erosion, one step leading to the next.

wood
2026

I’ve been experimenting with laser cutting and engraving on wood to make molds, prints, and textured surfaces. I start with digital forms, manipulating them on screen before sending the file to the laser machine. The beam cuts through or burns into the wood, leaving behind precise lines, deep grooves, or raised textures depending on the settings. From there I use the engraved wood as a mold for casting or press it directly to pull prints. I’m not trying to hide the hand or the machine, just letting both show up in the final mark.