In my artwork, I create palpable works of Fantasy, Science Fiction, and general Fiction.
I work in all visual mediums including writing. I aim to create works of fiction that have a foundation in reality and high emphasis on details and interaction that feel authentic.
Minds that are always thinking, moving, and analyzing are not placated by ersatz glamors on works of fiction resembling a feel-good, superficial idea. They seek truly deep and involved works that can be felt and held in the hands, analyzed and scrutinized, new meaning and deeper understanding to be found through close inspection. This ties even fictional work to reality, where all things can always be held and explored further. Combining a scientific mindset and curiosity with creative freedom and playfulness produces pieces that contain grounds in reality which allow one to springboard into the new and unknown and explore with endless imagination. The experience feels real and authentic when there are aspects that can always be felt and touched, compared to reality, analyzed and tested, using our senses and minds.
Examples of ideas include reflection on current trends in Fantasy visual media towards digital, and how it creates an 'Uncanny Valley' instead of improving on the immersion. Too much digital work in a Fantasy piece is apparent and jars the viewer out from the world and immersion. Specific examples include things like 'Gandolf's staff' from the Hobbit movies. It was created using modern casting technique. While casting is a very useful technique to achieve precision in design, it lacks authenticity under the scrutiny of High Definition filming. In such examples, a more appropriate technique would be to use the ACTUAL item in question, instead of an ersatz glamor. Creating the prop from an actual piece of wood, carefully aging it and treating it, would create a far more authentic item that could withstand the HD scrutiny.
I specialize in working with actual objects, not casting techniques and digital enhancement, in order to create authentic pieces. These pieces exist in reality, but are of a fantastical subject matter, and appear to exist in both simultaneously. They do not contain facades that disappear when removed from the context of the 'big screen', but instead also independently exist as objects that hold an other-worldliness, like an object that truly exists for the reasons of it's actual design, not merely for it's facade form to appear as a 'prop'. These objects serve under the scrutiny of High Definition, but also serve as works of art and sculptures in their own right outside of the context of media.
Further examples can be found in my writing. In Science Fiction, careful planning and extensive research is used to find technologies that are not merely 'convenient' for a plot, but have an actual basis in reality and current science. Whether it is technology in early stages of development, theories from great scientific minds, or imagining current technologies in a more advanced state, I aim to make all aspects feel authentic and able to withstand scrutiny. I seek out scientists and scientific minds to discuss technology, theories, and imaginings, in order to form palpable future realities in writing that feel like they very well exist, sometime, somewhere.
In fiction, I spend a lot of time people watching and listening to other people, in order to understand how true human interactions occur. Works of fiction are in the habit of being highly dramatized, without the realization of how fascinating reality is, without so much artificial drama. The sublime of life is a powerful feeling, and one everyone feels on a much more regular basis than drama. There is no need to create a life filled with unusually high levels of strange and unique dramatic situations. As the saying goes, 'the truth is always stranger than fiction.' Fiction, therefore, tends to be much more 'safe' with it's onslaught of familiar interactions and scenarios repeated in every sitcom, but with different settings. 'Edgy' sitcoms contain lowbrow humor and sexual innuendo, instead of authentic, real subject matter that is seen as being 'fringe'. True interactions, reality, exists in the unspoken and sublime. In the everyday whose details are forgotten, but shape who we are, our stories, and our lives. Fantastic situations arise, but do not define who we are as much as they are moments to stand out. Who we are exists in those moments clouded by time and overshadowed by the fantastic. Finding these patterns and themes is the key to true, deep, character development that makes characters feel like actual people rather than caricature types. Stories do not need to be manufactured when they occur around the lives of the characters. Life is a story in itself, and we as social creatures are highly fascinated with each other and the stories that are merely definitions of who we are. So often, the impact on the world is never the concern when we tell stories, with the focus instead being the impact on ourselves.