Passions

Philosophy

When it comes to creating or appreciating art, everyone has their own philosophy. For me, art should evoke an emotional response.

I’m not a fan of Jackson Pollock, but I can’t deny that some of his work gives me a sense of awe—and that’s an emotional reaction. No one has to agree with this philosophy, and that’s okay.

I’m obsessed with fractals, but not in the traditional Mandelbrot or Julia sense. I prefer Lyapunov fractals because they don’t need to follow a predictable pattern. That unpredictability resonates with me, and my work reflects it. My goal is to make people pause and ask themselves: What am I looking at?

No matter how my work is perceived, the aim is to provoke an emotion; confusion, wonder, disgust, joy, unease. It doesn’t matter which.

Acrylic on Wood

Rather than discard the skate decks my son deemed "thrashed" and left stacked in the garage, I saw an opportunity to repurpose them into something meaningful. By bracketing them together, planing, sanding, and adding standoffs so they mount flat on a wall, I transformed what was once trash into a new canvas.

Process Steps

Case Study 

Challenges:

When I first envisioned using old skate decks as a painting surface, I didn’t realize how labor-intensive the prep work would be. Initially thinking I could just bracket them together and start painting. I was wrong.

The edges needed to be planed for a flush fit, the surface had to be thoroughly sanded to remove street grime and oil, and a polyurethane sealant was necessary before the paint would properly adhere to the treated wood. Only then was it ready.

Concept:

Much of my work is an exercise in capturing a fragment of something much larger—meant to be viewed from a distance rather than up close.

This idea is reflected in both of these pieces, though in different ways. The blue-to-black step gradient resembles something manufactured, while the yellow-to-red tones feel more organic—at least to me.

Process:

The pattern requires meticulous measurements. Once ready to start adding color, I start at a midpoint value; royal blue for one piece, crimson red for the other. With each new color value, I carefully compare tones and account for the fact that paint dries darker than it appears wet. Masking off previous layers is crucial to maintain clean lines and prevent overbrushing.

Digital compositions

Fractals are my jam—especially in unconventional forms. Photoshop is my go-to for image manipulation, and I’ve developed a few techniques to generate self-similar, repeating patterns into full compositions.

One of my favorite aspects of digital work is playing with depth of field, something difficult to achieve in traditional painting. By simulating depth in Photoshop, I can enhance an illusion that these pieces are slices of something much larger. I believe this is where my talent for image manipulation lies—I can apply this technique to virtually anything.

All of these pieces are 2D—any perceived 3D is simulated, and not modeled.

Case Study 

Challenges:

I’m a non-destructive designer, meaning I always preserve editability. Once an asset is created, I group the build into a folder, duplicate it, convert it into a smart object, and disable the original layer group. This method also applies to my digital art. However, as compositions become more intricate—filled with filters, effects, and adjustment layers—file sizes balloon quickly. The smallest of the four compositions presented is over 5GB before flattening.

To keep file sizes manageable, I work with large physical dimensions at a resolution no higher than 72dpi. This ensures optimal performance without compromising quality. When printed, the smallest of these comps would be 48" x 48", and at that size, a resolution higher than 72dpi is generally unnecessary.

Concept:

I want viewers to wonder: What am I looking at? Even if the image makes them uneasy, I want them to feel compelled to keep looking, trying to decipher what it is.

Process:

I start with an amorphous shape, convert it into a smart object, and position it on the canvas, allowing for expansion and reduction along a simulated Z-axis. I then fine-tune its orientation and scale, iterating until the composition achieves a balanced interplay of negative and positive space.

Next comes shadowing and depth-of-field simulation—the two most time-consuming steps. Each layer requires individual blur adjustments to create a gradual focus shift along the Z-plane. Some of these compositions contain over 1,000 individual layers, and none have ever been completed in under three hours of continuous work.

Quality Time: Mini Ramp

Few things compare to my passion for art and design, but two that do are spending time with my kids and building cool stuff. This project was an exercise in both.

During the summer of 2021—at the height of COVID—my son and I built a mini ramp in our backyard. With skateparks closed and security guards chasing them from parking lots, he and his friends needed a place to skate. So, we made one. It was an experience we'll both cherish.

Case Study 

Challenges:

There weren’t many. I’ve built a few mini ramps from scratch, and while we could've saved money by doing so again, we opted for a kit from OC Ramps for simplicity. Everything came pre-cut and ready for assembly.

Concept:

This project allowed my son and his friends a place to hang out, and be themselves while the rest of the world went crazy.

Process:

I mainly supervised, letting my son handle most of the construction. I offered guidance here and there, and assisted in moving componants around and holding in place, but I wanted this to be his project.

The OC Ramps kit was well-designed, with color-coded lumber and easy-to-follow instructions. Assembly was straightforward, making the experience all the more enjoyable.

Practical Projects: Outdoor Movie Screen

Most people settle for a projection screen on a stand or hanging a sheet, hoping the wind doesn’t ruin their movie night. I wanted something better. So, I designed and built a wind-resistant outdoor movie screen that has held strong for over a decade.

The frame is .75" PVC irrigation componants, while the screen is center-sewn blackout blind material, sized for a 16:9 aspect ratio, and works perfectly with an HD 1080p projector connected to a mobile device.

Case Study 

Challenges:

Concept:

Who doesn’t love an outdoor movie night?

Process:

I calculated material needs based on the frame measurements and assigned a numbering system to ensure correct assembly. Once the frame was built, I focused on the screen itself.

To prevent color washout, I used white-faced blackout fabric. Using a 1965 Singer sewing machine able to sew leather, I stitched two halves together, creating pipe pockets along the edges for mounting. The result? A perfect outdoor projection screen.

Final Thoughts:

Whether I’m designing, painting, or building, my goal is the same—to create something that provokes a response and engages the senses. Some projects are artistic, some are practical, but they all share a common thread: thoughtful execution and attention to detail.