Creativity is, by its very nature, unbound.

My practice operates according to quantum rather than classical logic. At any moment, I exist in creative superposition—glitch painting, experimental photography, creative coding, AR, sculptural assemblage, conceptual intervention coexisting as potentialities. The act of creation collapses the wave function into a specific work, but the superposition persists. I am always all of these practices simultaneously; you only observe one at a time.

This isn't metaphor. In Welcome to the Quantum State, partner particles react instantly and oppositely across the screen—computational entanglement. Black space holds all possibilities until geometry collapses at the center. Refresh and the quantum sequence changes. No two are alike until they are. My AR works exist as still images until you observe them through your phone—literal observer effect, where looking changes what exists. Screen is my canvas. Image is my palette. Error is my brush. I take single digital images and process them repeatedly, layering corruption upon corruption until data becomes texture, each iteration a brushstroke made of system failure.

I use and interrogate emerging technologies as sites of possibility rather than reject them outright. Technology is never neutral—it can control or liberate, depending on who wields it and toward what ends. Circuit-bent cameras document protests and street life, their corrupted sensors fragmenting faces into unrecognizable pixels—corruption protecting people from the corruption of surveillance capitalism and facial recognition. In Recoded, I transform digital art back into ASCII, making infrastructure visible, celebrating when code doesn't hide. In DEEP FAKE, I reclaim the "fake" mediums critics dismiss to confront bodily sovereignty.

I work this way because classical determinism—singular truth, fixed identity, predictable outcomes—is the logic of control systems. Surveillance capitalism, bodily regulation, technological determinism all assume you are one knowable thing that can be predicted, monetized, contained. Quantum logic refuses this. I bridge computational systems with epistemologies that refuse Western technological determinism: cyclical time over linear progress, non-binary being over forced categorization, glitch and error as sites of freedom. The observer changes the observed. You can never know both position and momentum simultaneously. Superposition is not an aesthetic choice—it's ontological accuracy.

The questions that drive me: Who profits from our attention, our bodies, our data—and how might we reclaim it? What does it mean to be human at the dawn of the quantum age? What happens when uncertainty itself becomes creative methodology?

Superposition is my practice.

Liberation is my goal.

Curiosity is my constant.