Manifesto
Remanence
88 Tokens
Remanence is concerned with what persists when an image can no longer resolve.
When the human face is recorded across time rather than captured in a single instant, identity fractures. What remains is not a portrait, but a residue — evidence of form stretched, repeated, and displaced by duration.
Faces as signal
Remanence treats the human face as a spatial signal rather than a subject. Facial form exists as geometry, carried by points of light rather than surfaces or texture.
By refusing photographic density, the work prevents identity from stabilising. The face remains legible, but never fully present.
Recording, not rendering
Each image is constructed as a record of exposure rather than a rendered illustration. Motion across time is allowed to accumulate, producing visible red‑shift and blue‑shift echoes.
These spectral afterimages are not effects applied to an image, but consequences of duration acting on form.
Residual impressions
Remanence presents what remains after time interferes with representation. Identity dissolves, but structure persists.
The work stands as evidence — not of a person, but of form enduring across time.
Other Collections
Spectra
Spectra is a study of matter revealed as light.
Each work is rendered as a long-exposure spectral field — a restrained, museum-grade image where compounds and materials appear as bands and lines held against deep charcoal. These are not diagrams. There are no axes, grids, labels, or legends. Only the quiet evidence of a signature.
Across the collection, four regimes are held in tension: hydrocarbons, nuclear fuels, clean-energy materials, and metal alloys. The politics is embedded in comparison, not slogans — warmth versus precision, diffusion versus containment, abundance versus legacy — expressed only through light.
Katheros
Katheros is a generative fine-art collection of ink-based geometric compositions — pure lines, sacred shapes and interference patterns rendered with mathematical clarity and quiet aesthetic restraint.
Trace
Trace is a study of perception — a hybrid visual language where photographic fragments become architectural diagrams, and linework reveals the hidden structure inside the world.
Each artwork begins with real photographs: textures, objects, architectural details, or natural fragments. These images are arranged as intentional collages — quiet, asymmetric, evocative. Over them, precise linework unfolds: topographic contours, orthographic projections, and geometric extrapolations that reinterpret the photograph’s form.
Trace sits between blueprint and sketchbook, between fine-art print and architectural analysis. It is a dialogue between what is seen and what is understood.