I build interfaces that turn attention from the center toward the periphery, the interior, and the invisible forces that shape us. Each one takes one of those forces — the timing inside a voice, the logic under a painting, the slow coming-apart of an object held as value — and makes it something you can see, play, and move through. This is the digital as a way back to ourselves, and to rhythms we've lost touch with.
Permanent Collection
What remains?
A $200 million painting is as susceptible to decay as anything else — and over time, conservation can turn it into an effigy of itself.
What does it mean that a painting can sell for two hundred million, and that owning it makes you want to stop it from changing at all? A lot of these works end up in freeports, climate-sealed vaults where the art is held as an asset and never shown, kept alive by being kept from life.
This digital display runs the opposite way. It shows the painting at the scale of the original and models how it actually comes apart — craquelure from the stretcher corners, lead-soap eruption, bleaching, creeping mold — grounded in conservation science (Marion Mecklenburg's studies of how paint films fail). You set the conditions: leave it to the forces, or hit Restore and watch the repair freeze the damage into permanent scars and drop the value to a third.
The questions underneath drive both the market and the way we hold onto things: what does it cost a work to be preserved, and what, in the end, are we really keeping?
Bibliography & Research
01 / MECKLENBURG, MARIONThe Meaning of Mechanical Properties of Paintings (1991)
02 / GOETHE, J. W. VONTheory of Colours (1810)
03 / BRANDI, CESARETheory of Restoration (1963)
04 / KEUNE, K. & BOON, J.Analytical Imaging of Lead Soaps in Paint (2007)
States Of Disintegration
ORIGINAL
FORCES OF DECAY
⇆ drag
Systems of Intuition
What are the binary functions of style?
I became curious about the implicit systems I paint by, so I set out to understand my own paintings through the language of weaving. The tool reads a painting across many dimensions and scales and translates it into a complex weaving draft. The system is fully axiomatic, so anyone with the key can read it. It comes out of a longer interest in coordinate systems, language, and translation.
People picture weaving as a binary craft — threads up or threads down, an image flattened to a grid. Up close it is the opposite. Parallel threads cross in so many combinations that the dimension you can pull out of that binary grid is effectively endless: seams, depth, whole figures, all from over and under.
That is the part I keep circling. Binary systems are fruitful, and I am glad to dismantle the romantic idea that there is a genius in the artist's hand no computer could ever reach. I paint intuitively; this tool reads the painting back to me across many scales, and finds a real structure in it.
The drafts have a quality of polyvalence: one threading can produce wildly different patterns depending on how the shafts are raised. A single coordinate, many readings. The woven version is a decoding of the logic under a painting, the decisions I make without ever naming them.
States of Translation
Detailed views demonstrating how the coordinate mappings and structural weaves manifest in physical spaces, along with digital spatial renders of the system.
01_PIGMENT
02_MATRIX_WEAVE
03_LAYER_COMPOSITE
Bibliography & Research
01 / ALBERS, ANNIOn Weaving (1965)
02 / PLANT, SADIEZeros and Ones (1997)
03 / WHICHER, OLIVE & GEORGEProjective Geometry (1971)
Field Conditions
What if there were no designer, only conditions?
A procedural design toolkit. You set the field conditions — the forces at play across the page — and the elements read them and arrange themselves, pulled into place by that field as it shifts. Around it runs a quieter layer that stays tuned to your own rhythms while you work: your breath, your heartbeat, where your eyes move, the slower cosmic cycles underneath. It keeps the making grounded in your body, so the design comes from real conditions instead of arrangement for its own sake.
Most design is the work of arranging elements in aesthetic relation, nudging one against another until it looks right. This tool moves that work earlier. You set the conditions, the forces at play across the page, and the arrangement emerges from that array on its own.
I also built a frame around the tool that keeps me tied to my own rhythms while I work: my breathing, my heartbeat, the haptic rhythm of my hands as they move, where my eyes go, and the slower cosmic cycles underneath all of it. I hate getting lost in the arbitrariness of pushing things around, and the frame keeps me from drifting there.
The Tool & Its Output
POSTER 01
POSTER 02
Bibliography & Research
01 / ALLEN, STANField Conditions (1997)
02 / SHELDRAKE, RUPERTA New Science of Life (1981)
03 / GERSTNER, KARLDesigning Programmes (1964)
The Seated Creator
An orienting device that sits outside the canvas while I work. The seated creator breathes on a five-second coherent cycle and carries a sixty-beat heartbeat, a reminder that there is a presence here connected to breath and to the stars. It is the first prototype of a recurring character: a reflection of the self that I want to thread through every project as a circadian, inner-rhythmic line.
A Presence Outside The Machine
The figure is the first prototype of a recurring character I am developing, one that will live across all my work and become a kind of digital double. Not the double that pulls you into the screen, but one that reminds you of your own aliveness while you work.
The heart beats sixty times a minute. The halo breathes at a slow, parasympathetic rate, the kind that settles the nervous system. It is built as a self-contained component, ready to reuse in other projects and, in time, to open-source so others can carry their own presence with them.
The Eyes & The Hands
The other two orienting devices that frame the canvas. A pair of Kathmandu wisdom eyes that watch and blink, and a pair of bagua hands that carry the haptic feedback of the work, their knuckles laid out as a Lo Shu magic square. Like the seated creator, they are built to travel: self-contained components that keep the act of making attended-to and embodied.
Watching, And Holding
The eyes follow the cursor and blink on the same slow cadence as the creator's breath.
The hands show when mouse interactions happen. One reads your gesture coming in, the other tracks motion going out. The squares on the knuckles hold a grid of numbers that balances in every direction.
Each is built as its own portable component.
The Field Engine
The engine underneath Field Conditions. Two grid families, Cartesian or isometric, act as fields of attraction. Every point is drawn toward the nearest lane with a nonlinear force, stretched along the corridor it joins and squeezed across it, so elements gather at the nodes and intersections where the fields cross.
A Living Grid
This takes the ordinary design grid and gives it physical force. Elements snap toward the lines, and they also get pulled, drawn in by a field rather than locked to a fixed position. You can turn the strength of that force up or down, from a firm hold to a loose, drifting attraction.
At full strength it behaves like a real environment. Elements pull toward each other and push apart, reacting to the gradients and the text around them, settling at the crossings where forces meet. It feels like moving through a world rather than filling in a prison of cells.
Images you bring in are read for what they contain, so the field can place them by their content. The finished page exports as clean vector and as a print-resolution poster.
Self OS
What if friction is one side of freedom?
A Chrome extension that reroutes your attention toward a shared presence online, and back toward what tends to slip down the list: creative projects, and whatever lives in a different headspace from your task list. At set moments it steps into the scroll and hands you something small and physical to do, so your attention has somewhere better to land. It is also an experiment in collective presence, being aware of one another as quiet witnesses, present in the same moment.
Most of the interfaces we live inside are built to extract: frictionless paths that keep you scrolling, attention harvested and sold. Self OS starts by putting friction back. At scheduled moments it breaks the passive loop and hands you a small, physical thing to do, below the threshold where decision fatigue sets in.
The deeper move is to reroute the energy that gets reclaimed. The same interface mechanics that usually drain us can be rebuilt as interfaces we make for each other: tools for exploration, for grounding, for presence. Self OS is my first attempt at that inversion, taking the shape of the thing that extracts from you and using it to give energy back.
It also holds a quieter question about being together. Rather than the tribes that algorithmic grouping sorts us into, what if we were simply aware of one another as witnesses, present in the same moment?
Bibliography & Research
01 / GURDJIEFF, G. I.In Search of the Miraculous — the Law of Three (Ouspensky, 1949)
02 / SKINNER, B. F.Schedules of Reinforcement (1957)
03 / TURRELL, JAMESLight and Space (Ganzfeld works)
The Roulette Wheel
Micro-Task: Calisthenics
Time Remaining: 05:00
Hand It to the Wheel
When a Self OS block kicks in, this wheel is the first thing you see, the centre of the extension. It makes the decisions that go unmade on their own. Creative tasks live in a different space from a task list, one without hierarchy, so they slip past the things that get prioritized. I pre-curate the things I actually want to do, then hand the choice to the wheel: spin it and do what it lands on. Outsourcing that single decision quietly interrupts the workflow I would otherwise stay stuck in, and it has changed how I spend my time.
Friction is the primary mechanism of extraction. Modern interfaces are engineered to route our focus into loops of passive consumption, exploiting the cognitive gap we experience when switching between tasks. selfOS is built as a deliberate, mechanical counterweight. It introduces a physical interruption at a threshold below biological friction, bypassing decision-fatigue by selecting our micro-prioritizations for us.
Bibliography & Research
01 / IYENGAR & LEPPERWhen Choice is Demotivating (2000)
02 / JAMES, WILLIAMHabit — Principles of Psychology (1890)
The Presence Chamber
Who's With Me
It connects you with other people who, in the same moment, are taking active control of their attention and rerouting it toward what they actually care about. An experiment in collective presence and witnessing: the quiet knowledge that others are here, doing the same work. It appears at the end of every blocking session.
When the session starts, the interface answers the simple question: Who's with me? It renders a quiet, non-social count of other seekers showing up in the same moment. At milestones, synchronous celestial shooting stars and comets sweep across the screens of all active participants. It is collective presence without social clumping—attention reclaimed as a shared, silent tapestry rather than a private extraction.
Bibliography & Research
01 / TURRELL, JAMESLight and Space
02 / TURKLE, SHERRYAlone Together (2011)
Counterspace
What if position is only a matter of perspective?
A visualizer for projective geometry, a system where everything is defined by its relationships rather than absolute measurements. I have also been mapping it onto a room, where each person becomes an origin point and the distances between them play directly as sound. The room itself becomes the instrument, sounding from where people stand and how they relate, a quiet ambience in the space that you come to notice your own part in over time.
Projective geometry has no fixed coordinates and no absolute values. Everything is defined by relationship, by polarity, by how a form sits against the space around it. Each person is their own origin point.
Every form carries a network of formative forces that brought it into being, working inward from the periphery toward the center: counterspace, polar forms, the horizon as a line at infinity. The periphery does as much of the shaping as the center.
Spatial translation and musical transposition are the same operation. The coordinate that moves a point through space moves a pitch through a scale.
I built this visualizer because so few do projective geometry justice, and because emergent complexity, music, and harmony have held my attention for years. The next step is a room where people themselves are the points, their positions and movement playing the geometry as sound.
The Instrument
Bibliography & Research
Software translation: Horizon line tilt updates lowpass filter cutoffs, sonically illustrating Whicher's peripheral space forces.
Software translation: Homographic angle-parametric pencils intersect to generate Steiner conics, mapping 3D space vectors to panning splits.
Software translation: Coordinates grow geometrically as $ratio ** (i + bias)$ to physically retune oscillator scales in real time.
Software translation: Draggable coordinates represent nodes mapping the transition between local centers and the infinite horizon.
Software translation: The Euclidean limit preset represents equal pressure space, while Vortex presets represent organic suction fields.
Interfacers
GEN // PROCEDURAL
What if every face is for entering?
Every portrait is assembled from the parts of an interface, and somewhere in the arrangement a face appears, eyes and a nose and a mouth, a presence looking back. It plays on a hallucination we are wired for, the same reflex that finds a face in a cloud or an outlet. The identity is half the components and half you.
It is also where a looser aesthetic for my work opens up, built on finding order inside randomness and on how readily we come to identify with something far from a face. A generative PFP for Interfacing, with endless variation, releasing likely in 2026.
Bibliography & Research
01 / TURKLE, SHERRYLife on the Screen (1995)
02 / HARAWAY, DONNAA Cyborg Manifesto (1985)
03 / MANOVICH, LEVThe Language of New Media (2001)
Studio Weseeclearly
Why do artists’ websites feel like dead storage?
I architected a new site for my paintings, synced to Notion and built as nested windows with no menu and no sequential order. Every painting is an axis you can move through; nothing is curated for you. It's nonlinear and exploratory, an archive you play through by dynamic association rather than fixed sequences or categories.
I rebuilt the site for my paintings, which go back to 2007, from the ground up.
The site is synced to my Notion database, so it stays current without my touching it, and the interface is built as nested windows. There is no sequence and no time order. Every painting carries its own coordinates, its date and palette and price and whether it is available, and each of those is a way in. You move through the work by association, through whatever pulls you.
The structure itself carries the meaning. A nonlinear site can still be coherent, and it keeps the work in motion.
Bibliography & Research
01 / WU, TIMThe Attention Merchants (2016)
02 / WEISER, M. & BROWN, J. S.The Coming Age of Calm Technology (1996)
03 / ALEXANDER, CHRISTOPHERA Pattern Language (1977)
Interfacing
What is hidden underneath a brand?
Interfacing is a tripolar architecture for releasing work. Most brands collapse toward the same entropy, which shows up as creeping humanitarian abuse, opacity, or a loss of quality hidden under a consistent surface. I am re-architecting what a brand can be as a tensegrity, where nothing rests on one visual style and every part stays in balance and relation, so the integrity runs all the way through.
Interfacing is an unusual word. As a verb it is the act of two systems meeting, a threshold in motion. As a thing it is the support sewn invisibly inside a garment, the layer that holds the shape of what is on the surface without ever taking the attention. I chose it as a name because it already carries its own polarity, the meeting and the quiet support held in one word.
For a long time a handful of companies built the interfaces and the rest of us lived inside them, taking whatever shape we were handed. That is changing. We can build our own now, on top of our own data, and the interface itself becomes something you make.
I didn't set out to make a brand. I wanted to move away from the assumption that you have to build one at all. This is Interfacing: work that puts something in motion and asks real questions about what forms us and where we differ, without ever telling you who to be. Why a brand, and not a release?
Everything under Interfacing arrives as three things at once: an essay, a tool, and an artifact, holding each other up like a tensegrity. The structure inverts what you expect from a brand. There is no central store, no homepage that everything points back to. Interfacing rides as a footer on every release, and each release gets its own domain and its own design.
Interfacing is my main project, and most of my work from here will be released under it.
Bibliography & Research
01 / HOOKWAY, BRANDENInterface (2014)
02 / FULLER, R. BUCKMINSTERSynergetics — Tensegrity (1975)
03 / SIMONDON, GILBERTOn the Mode of Existence of Technical Objects (1958)
Logo Development
Collapsing down dimensions creates intersections that do not exist in reality.
CAMERA_Y_ROT: 180°
Z_SEPARATION: 80px [STATIC]
PROJ_OVERLAP: 33% [MAX]
Depending on Perspective
Depending on your perspective: a Venn diagram, an intersection of two circles, or a rotation around two circles that never actually meet. That dependence on perspective, and the fluidity of interpretation it opens, runs through every part of Interfacing.
What happens when we collapse dimensions? From a fixed, flat perspective, two circles moving in three-dimensional space appear to slide across one another, creating an intersection—a Venn diagram of overlapping zones. We read this overlap as connection, or even friction.
"Circles maintain their integrity and independence; they never interpenetrate. Collapsing down from dimensions creates intersections that do not exist."
But if we orbit the camera and slide the perspective to the side, the depth coordinate is revealed. The circles never touched. They occupy completely separate vertical coordinates along the Z-axis, rotating statically in their own planes. The intersection was a flat illusion, an artifact of dimensional collapse. This serves as a physical metaphor for modern digital echo-chambers: we collapse multi-dimensional richness into flat, binary profiles, constructing artificial conflicts that only exist because of the flat angle from which we look.
Simulation Switches
Engine: Three-dimensional homogenous skew coordinates. Calculates dynamic trigonometric projection coefficients.
Everything is Unique
A deterministic digital stamp signature generator. Using ancient **Lo Shu mathematical grids**, edition numbers are spiral-filled and shifted based on unique seed multipliers, creating a distinct, unrepeatable visual watermark for physical items.
One Registry
Every Interfacing drop is one of one. Each is translated into a magic square, a unique identifier inside a single registry that holds the whole Interfacing universe. It is a non-linear cipher, where meaning comes from your relationship to the grid rather than a place in any sequence.
Lo Shu Magic Squares
The ancient Lo Shu magic square represents one of the earliest examples of deterministic harmony. Every row, column, and diagonal sums to fifteen—establishing a weightless lattice of numerical equilibrium. When we map this ancient lattice to digital editions, we create a spatial signature that is unrepeatable yet completely deterministic.
"Watermarks are not arbitrary database indices; they are topological transformations of sequence numbers directly onto physical coordinate space."
By printing these mathematical ciphers onto physical works, we link digital authenticity directly to sequence without relying on heavy external databases. It is a spatial correspondence, a circular return where math serves as a beautiful protective seal.
Technical Specifications
Engine: Ancient magic square matrix offset with linear shift multipliers. Formulates an unrepeatable digital-physical watermark signature.
Polar Shadow
A key V2 philosophy that connects the visitor's bodily presence to the site's digital current. Instead of encouraging endless mouse movement and cognitive depletion, the catalog incentives **contemplative stillness**. As you pause your cursor, the organic breathing glow blooms behind typography and lines, causing coordinates and letters to light up with spectral chromatic refraction.
A Polar Form
A polar form and an inversion: more of the philosophy behind Interfacing, set into its design. Interfacing travels as a footer on every release rather than a header or a homepage, so components like this one carry the meaning, each a quiet signal that everything belongs to the same universe.
The Polar Shadow of Attention
Extractive networks treat your attention as an active ore to be mined. They incentivize endless clicks, rapid scrolls, and constant mouse displacement. The browser becomes a somatic stress chamber.
"Somatic Stillness is the polar shadow of that extraction: it is attention reclaimed through absolute physical quietude."
When you halt all physical cursor movements, the interface signals a change of state. It ceases to update coordinate grids with mechanical vectors and instead yields to a slow, breathing biological light loop. By standing still, you become conscious of the interface as a mirroring envelope—a synchronous space where presence is defined by your capacity to rest.
Sensor Variables
Philosophy: Reclaiming agency from extractive networks by mapping stable biological resting rhythms to programmatic CSS apertures.
Sonifold
What does your voice know that you don't?
Upload a voice note and it maps how you said it — your timing, your pauses, and the words you kept returning to — as a shape you can see.
What shapes does a spoken voice take? You upload a voice note—a message to a friend, a paragraph read aloud, something said while driving. This tool transcribes it, then uses the timestamp on every word to place it in space. Pause becomes distance, speed becomes density, and every cluster of silence is a coordinate. Each word lands precisely where it does because of when it arrived. The result is a 2D map, a spatial typography of speech. A sonifold.
"A transcript preserves what you said. The sonifold preserves how."
Shape carries what the words don't: where you circled back, where you accelerated, which phrases your speech kept returning to. Repeated words connect across the canvas as colored threads, and immediately you can see the loops. A topology of a voice, where the map is the meaning.
Adjustable parameters let you influence what emerges. Tune the sensitivity to silence and the pauses open like rooms. Rushed passages compress into constellations. The architecture comes from the voice; the image comes from the conversation between the voice and the choices you make. Which is why there's always an interactive component to every Interfacing release, one that produces artifacts you can take with you.
The voice you upload doesn't have to be yours. The tool reads rhythm, density, silence, speed, indifferent to your reason for choosing. What arrives is the geometry of how someone moves through language, stripped of meaning, rendered as form.
Vocal Topologies
Navigate to the Sonifold Generator and Gallery to view more, and to generate your own. The links are on the Overview tab.
CLEAR BIRCH CODA
CRISP QUARTZ PIVOT
DIM GRANITE ELEVEN
10 MAR 2026
Bibliography & Research
01 / DOLAR, MLADENA Voice and Nothing More (2006)
02 / LABELLE, BRANDONAcoustic Territories (2010)
Cosmic Botany
Can a computer lead us back to nature?
An orbital simulator that maps the orbits of Earth and Venus onto the geometry of leaves and buds. It follows real research from the Steiner-school tradition, where bud forms were found to fit geometric path-curves that shift in rhythm with planetary cycles.
We have obstructed our connection with natural cycles. Extractive structures—monolithic concrete buildings, asphalt pavements, and ubiquitous Wi-Fi signals—act as a sensory shield, isolating us from the primary rhythms of the earth and sky. Many point to this severance as our civilizational downfall.
Yet the digital represents an unexpected portal back. Because nature is not constructed of straight lines, its geometries are dynamic, curved, and relational. By pushing calculations to their outer limits, the mathematical visualizer returns us to the circle, allowing us to find form correspondences (homonyms) across cosmic and biological scales.
"The computer becomes a glass pane reflecting the macrocosmic order. The same mathematics that maps Venus's synodic year traces the contour of a budding leaf."
In this active research, the planetary orbits are mapped directly to microtonal chord ratios. Sliding the morphology control transitions the orbital vector lines into organic botanical profiles—revealing that the structural template of plant growth is a perfect spatial projection of celestial orbits. The computer is not a barrier to the cosmic; it is the loom upon which its threads are woven together.
Bibliography & Research
01 / EDWARDS, LAWRENCEThe Vortex of Life (1993)
02 / ADAMS, G. & WHICHER, O.The Plant Between Sun and Earth (1982)
03 / EDWARDS, LAWRENCEProjective Geometry (1985)
Status: Active Research Project.
Cloud Embassy Website
An container concept and architected space functioning as the neutral zone in a three-pole framework. In this mirror-world interface, real-world tasks and administrative metrics register as subtractions—clearing a dense, misty atmosphere toward geometric stillness.
Subtracted Atmosphere
Cloud Embassy is structured as a spatial website and wiki container. In this alchemical interface, real-world tasks function as direct meteorological subtractions. Tapping the expansion button below slides open the nested Sky-Break Volumetrics sub-room to reveal the performance-tuned Three.js particle system.
The Neutral Zone
Drawing from Gurdjieff's Law of Three, Cloud Embassy functions as the neutralizing container—the place where the affirming self and denying digital environment dissolve into geometric stillness.
The static site uses the Quartz engine linked directly to my Obsidian database, mapping personal archives, drawings, and texts into a windswept cloud universe.
Cloud Specifications
Status: Upcoming Commission.
Sky-Break Volumetrics
The Three.js stipple cloud simulation system. Dragging the Sky-Break slider on the left organically parts the floating clouds to reveal the geometric coordinate grid behind.
Subtracted Density
Cloud Embassy acts as a spatial container representing a mirror-world interface. Real-world commitments and life actions function as subtractions: pay a debt or clear a desk, and the environment subtracts a cloud. The digital canvas begins heavy, misty, and congested; as life is handled, the vapor sweeps away, clearing the atmosphere toward empty, geometric stillness.
Archival Mists
Under Gurdjieff's Law of Three, a structure is composed of three relational forces: the affirming protagonist, the denying environment, and the reconciling act of interfacing. Cloud Embassy is the neutral container—the place where these dynamics dissolve.
Drawing from primordial cloud cosmologies (the Islamic al-Ama and Zuni awonawilona) and high cloud-forest stone fortresses like Kuelap, the environment treats the digital screen as a literal meteorological atmosphere. The hand-drawn marks—dots, numbers, and fine ikat weaving drafts—represent the density of human weight.
"As mists part, we discover that the separation between protagonist and environment was an illusion. The observer merges with the cleared sky."
The interaction reproduces this subtractive geometry. By dragging your cursor, you sweep away the particulate layers, creating a local coherence break—a momentary clearing of the sky. In the parallel Internet, identity is not performed or broadcast; it is subtracted. Studio Weseeclearly disappears into the geometry, resolving the privacy wound by clearing away the surface noise to reveal the underlying silent matrix.
Embassy Vault
Status: Upcoming Commission.
CV
Solo & Group
- 2017Antarctic PavilionVenice Biennale, Venice
- 2017Choose Your Own Adventure (solo)Galerie Thomas Fuchs, Stuttgart
- 2016How To Let Go (solo)Magic Beans, Berlin
- 2014Continental Shift (group)Saatchi Gallery, London
- 2013Imago Mundi (group)Querini Stampalia, Venice Biennale — cur. Diego Cortez
- 2013VOLTA NY (solo)New York
- 2012Ecstatic Skin (solo)Envoy Enterprises, New York
Education
- 2007–11New York UniversityGallatin, philosophy & creative writing
- 2009Peking UniversityBeijing
- 2006–07L'Institut CatholiqueParis
Residencies
- 2017Alfred & Trafford Klots ProgramMICA, Léhon, France
- GlitchGlitch ResidencyJoigny, France
Roles
- 2016Ai Weiwei studioResearch & production, Human Flow, Berlin
- 2022–23BNVCreative Director, Singapore
- 2020–23MetafactoryCore team lead
- 2020NewcoinCultural Director
- 2022DALL·E & MidjourneyBeta tester
What I Do
Working with language models since GPT-1 in 2019. I currently teach and advise on how to use AI.