In reflection on how best to explain my artistic practice to others I have come upon the idea that it is not specific mediums or aesthetic styles which define my art, but rather the approach by which I come to understand and implement these works which best encapsulates the essence of my oveur.
Owing to my background in abstract mathematics and computer science, I tend to focus heavily on highly technical aspects of my work, and moreover find a great deal of inspiration from the confluence of aesthetics and engineering. My fixation on techné leads towards a proclivity for building tools or autonomous art producing mechanisms, rather than inanimate artifacts. These works are frequently parametric or generative in nature, and as a consequence can broadly be described as “automatic”. My practice is strongly guided by my own curiosity towards the aesthetic properties of the algorithms, mechanisms, and art-making procedures I design.
My art is the art of Turing Machine orchestras and collages made from shredded category-theory dissertations. My art exists to prove that the composition of functions can be every bit as beautiful as the composition of colors. My art is eclectic and maximalist in appearance, yet manifests itself from an approach exquisitely meticulous and orderly. My art proposes that adoration of the mechanical is not a rejection of the creative and aesthetical.