I use glass as a medium for thinking through perceptual and material change. Frequently working with contrasting colors that transition as gradients or juxtaposed patterns, resisting fixed thresholds, I create transformations that unfold without a singular beginning or endpoint. Beginning with blanks of layered colors, hand engraving reveals energetic and shifting geometric patterns from static surfaces. Employing both smooth gradients and intricate incision, the work reveals an unresolved middle ground through which identity and matter alike emerge as contingent, relational and perpetually in motion.

My formal language emerges from a sustained fascination with quantum mechanics and theoretical physics, particularly the principle that matter exists across a range of potential states until measured or observed. Rather than illustrating scientific concepts directly, I turn toward them as conceptual frameworks to think through the experience of inhabiting multiple conditions at once. For me, a trans, mixed-race man, surfaces represent an opportunity for uncertainty to be embodied rather than resolved. Gradual transitions of color enact the impossibility of locating exact moments of change. The smooth gradients produce the illusion of continuity, while engraving insists on the complexity beneath perception.

My attraction to physics lies equally in its discipline and openness. Stepping away from Christianity, the religion I was raised in, I was ultimately drawn toward systems of understanding that privilege investigation over doctrine. I view scientific speculation as a form of permission: rigorous enough to ground understanding while remaining unresolved enough to sustain curiosity. In this sense, my work does not seek definitive meaning so much as to cultivate attentiveness. I invite viewers to linger in ambiguity long enough to arrive at wonder. My work lives in particles and partnership with the visibly unknown.