I started in sound.
Moved to the edit.
Then found the lens.

I’ve spent 15 years shaping images, commercially, intuitively, and often finding the most rewarding moments in the happy accidents.
 

My work used to live on film cards and hard drives. Today, it lives in systems.
I now work primarily with generative workflows, navigating Comfy-UI, cloud generative services, Unreal Engine and Blender, to create emotionally resonant, cinematic pieces that feel true, even when they are synthetic.
 

The process has shifted from capturing reality to curating emergence.
Sometimes it’s a fashion film that never touched a physical set. Sometimes it’s a character born entirely from noise in a neural net. But the discipline remains the same: lighting, composition, and intent.

 

But not everything is screen-based.
When the pixels get too loud, I return to the tactile. Painting, sculpting, folded paper, and poured resin. Layered textures that resist control. This physical work isn't separate from the digital, it grounds it. Understanding how light hits a 3D-printed form or how resin settles informs every prompt I write and every node I connect.
 

I don’t see a divide between the two.

Some days I shoot in the dark and let the sensor reveal shapes. Other days I layer paint on canvas, waiting for it to breathe back.
 

The thread through all of it is atmosphere, visual or emotional, and a quiet curiosity about where the line between perception and reality dissolves.