coexistence
2026
glass, tin, copper, crystals, cement, MDF, aluminium

This work is about transformation as a process, not an outcome. Too often we think of change as something that reaches a final state, finished and complete. But most real transformation doesn’t work that way. It starts and stops. It hesitates. It leaves parts of itself behind.

Coexistence is a slow conversation between what transforms and what stays. Both just there. Multiple states sharing the same space. Each material resting next to the other.

printing
2026
copper, aquatint, oil-based ink, specialized paper

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.

untitled I
2025
tin, glass

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.

untitled II
2026
glass

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.

untitled III
2026
MDF

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.

xensyl
2025
925 silver, gemstones

I have been making jewelry, mostly custom grills in silver and gold with gemstones. It started with rings during my Erasmus at Konstfack in Stockholm, studying Jewelry & Corpus. That shift changed how I think about the body and adornment. Each grill is built from hand carved wax, impressions, and a lot of close collaboration with the person wearing it. I’m interested in how something so intimate and precise can also feel bold, playful, and completely personal.

tyle.xa
2023
blender, zbrush

I also do 3D design using Blender and Zbrush. I love games, movies, anime, that’s where most of my inspiration comes from. In 3D I can build my own fantasy, my own realm, a nice getaway from everything else. It’s not about perfect renders or realism, it’s about having a space where I can push shapes, invent characters, and just get lost in the process. I use 3D as a tool for expression and fantasy, pure and simple.