Independence (Stage III) reflects a phase in which artificial systems operate across broad, interconnected domains. Rather than being limited to specific tasks, these systems develop generalizable representations that can be adapted, extended, and reconfigured.

The work positions this as an expansion of the cognitive landscape itself. Intelligence is no longer confined to narrow regions, but occupies high-dimensional spaces shaped by scale, data diversity, and interaction. Behavior emerges through prompting and context, rather than explicit instruction.

At this stage, artificial systems begin to function as cognitive substrates—structures that support a wide range of operations without being fixed to a single purpose. Their outputs influence how information is generated and interpreted, contributing to the formation of shared reality.

The piece isolates a condition of emergence: intelligence as distributed, flexible, and increasingly integrated, yet partially opaque in its internal structure.

DETAILS AND DIMENSIONS

This zinc engraving is a single limited edition on a 1.6mm thick zinc plate. Plate size: 24 cm x 30 cm (9,44 X 11,81 inches), engraving size: 24 cm x 30 cm (9,44 X 11,81 inches), frame size: 27 x 33 x 3,5cm (10,6 x 12,9 x 1,3). Each plate is numbered, wax stamped and sold with a frame.
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Publication Date: May 25, 2026
Plate Size: 24 x 30cm
Print Size: 24 x 30cm
Frame Size: 27 x 33 x 3cm

Emergence (Stage II) marks the transition from constructed logic to learned representation. In this phase, artificial systems no longer rely solely on predefined rules, but develop internal structures through exposure to data.

The work situates this shift as the emergence of adaptive positioning within a cognitive landscape. Systems are shaped by training processes that encode patterns, allowing them to generalize within constrained domains. Intelligence becomes conditional—dependent on data, optimization, and context.

This stage introduces a form of internalization: cognition is no longer entirely external, but distributed across learned parameters. Yet it remains fragmented, with each system bounded by the specificity of its training.

The piece captures a transitional condition—where intelligence begins to form, but remains partial and domain-limited.

DETAILS AND DIMENSIONS

This zinc engraving is a single limited edition on a 1.6mm thick zinc plate. Plate size: 24 cm x 30 cm (9,44 X 11,81 inches), engraving size: 24 cm x 30 cm (9,44 X 11,81 inches), frame size: 27 x 33 x 3,5cm (10,6 x 12,9 x 1,3). Each plate is numbered, wax stamped and sold with a frame.

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Publication Date: May 25, 2026
Plate Size: 24 x 30cm
Print Size: 24 x 30cm
Frame Size: 27 x 33 x 3cm

Composition No.: 68

Origins (Stage I) represents an early form of artificial intelligence in which cognition is not learned, but explicitly constructed. Systems in this phase operate through predefined rules, symbols, and logical structures, producing outputs that are entirely determined by their design.

The work frames this condition as a fixed position within a broader cognitive landscape. Intelligence appears here as an external artifact—transparent in structure, yet limited in adaptability. These systems do not reorganize themselves in response to new conditions; they execute within the boundaries set by their creators.

Rather than presenting a fully formed mind, the piece isolates a precursor: a model of reasoning without internal transformation. It reflects a moment where cognition is simulated, but not yet emergent.

DETAILS AND DIMENSIONS

This zinc engraving is a single limited edition on a 1.6mm thick zinc plate. Plate size: 24 cm x 30 cm (9,44 X 11,81 inches), engraving size: 24 cm x 30 cm (9,44 X 11,81 inches), frame size: 27 x 33 x 3,5cm (10,6 x 12,9 x 1,3). Each plate is numbered, wax stamped and sold with a frame.

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Publication Date: May 25, 2026
Plate Size: 24 x 30cm
Print Size: 24 x 30cm
Frame Size: 27 x 33 x 3cm

Composition No.: 67

The Zaporizhzhia Watchdog emerges from the occupation of the Zaporizhzhia Nuclear Power Plant, a site where military conflict intersects with infrastructure capable of producing irreversible, transboundary harm.

The work introduces the figure of the “watchdog” as a structural necessity rather than an individual role: a guardian of systems whose failure cannot be contained within political boundaries. Unlike conventional actors in conflict, this figure operates within a different logic—one defined not by control or victory, but by the prevention of shared catastrophe.

The nuclear site becomes a point of convergence where opposing forces are bound by a common vulnerability. In this context, infrastructure is no longer neutral or purely functional; it is exposed as a fragile condition upon which multiple systems depend simultaneously.

The piece frames this condition as a broader principle: that certain technologies exceed the frameworks designed to govern them, requiring forms of responsibility that are collective, continuous, and inherently unstable.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,9 cm x 42,7 cm (7,48 X 10 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: November 11, 2025
Print Size: 31,9 x 42,7cm
Paper Size: 42 x 59,4cm
Composition No.: 66

White Light Signatures examines the structure of white light as a composite rather than a singular entity. What appears uniform is, in fact, the result of multiple distinct wavelengths coexisting within a single perceptual field.

The work treats this condition as a model for identity. Unity is not presented as fundamental, but as the integration of discrete components that retain their differences even when perceived as one. The visible spectrum—normally concealed within white light—becomes a latent structure that defines what is seen without being directly visible.

By referencing the idea of spectral signatures, the piece frames light as information: a trace of composition, energy, and origin. What is perceived as stable or neutral is revealed to be structured, layered, and internally differentiated.

The work therefore proposes a shift from surface perception to underlying structure, where identity is understood not as a fixed state, but as a composite of interacting elements.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,3 cm x 45,2 cm (12,3 X 17,8 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: October 10, 2025
Print Size: 31,3 x 45,2cm
Paper Size: 42 x 59,4cm
Composition No.: 65

Dancer in the Dark presents a solitary figure positioned at the edge of a landscape, reduced to a small silhouette within a larger, indifferent environment. The surrounding space dominates, placing the figure in a condition of exposure and isolation.

The work frames this position as suspension. The figure stands between states—land and water, presence and withdrawal—without clear resolution. Movement is absent, yet the posture suggests an internal process that remains active but contained.

This stillness becomes structural. Rather than indicating rest, it reflects endurance: a condition in which continuation replaces progression. The environment does not respond, and the figure remains without external reference or support.

The piece isolates this dynamic as a broader principle: that isolation can become a persistent state in which the self is maintained through minimal stability, where presence continues without transformation.

DETAILS AND DIMENSIONS

This intaglio and aquatint etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 9 cm x 13 cm (3.5 X 5.1 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 9 x 13cm
Paper Size: 30 x 40cm
Composition No.: 4

NONTRON presents a face constructed through digital fragmentation—formed from dots, grain, and discontinuities that suggest both emergence and instability. The image appears less as a fixed identity than as a surface in the process of being assembled.

The work frames this condition as a shift in how identity is formed. The self is no longer grounded in a singular, stable structure, but distributed across systems of representation and mediation. What appears as a face is contingent, recalculated through layers of data and interpretation.

This instability positions identity within a transitional state. The figure is neither fully human nor fully digital, but operates within the overlap between the two—where boundaries between organism and system become increasingly difficult to define.

The piece isolates this condition as a broader principle: that as technology becomes an environment rather than a tool, identity evolves into a dynamic interface, shaped continuously by the systems through which it is expressed.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 7 cm x 10.5 cm (2.7 X 4.1 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 7 x 10,5cm
Paper Size: 30 x 40cm
Composition No.: 10

Witches’ Brew presents a simple vessel containing a dark liquid. The image is minimal and familiar, yet its contents introduce a sense of unease, shifting the object from neutral to charged.

The work frames this transformation as a condition of concealment. What appears ordinary becomes a carrier of latent meaning, where violence or harm is not visibly enacted, but contained and internalized. The act is not shown; only its preparation or residue is implied.

This displacement positions the object within a broader system of normalization. Harm is no longer external or overt, but embedded within everyday forms, where it can be absorbed, repeated, or overlooked.

The piece isolates this dynamic as a broader principle: that destructive conditions can persist through subtle integration, where what is consumed is not only material, but also ethical.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching on two separate copper plates is hand pulled in a limited edition of 7 copies on 300 gram Hahnemuller etching paper. Plate size: 10 cm x 12.8 cm (3.9 X 5 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 10 x 12,8cm
Paper Size: 30 x 40cm
Composition No.: 12

Hey You, Yes You! presents an extended hand, open and directed outward. The gesture is simple, yet establishes a clear relational orientation—one defined by offering rather than imposition.

The work frames the hand as a condition of engagement. Unlike gestures shaped by control or force, this form remains open, creating the possibility of contact without determining its outcome. The act is not prescriptive, but invitational.

This openness introduces a different structure of power. Rather than asserting dominance, the gesture operates through recognition and availability, allowing relation to emerge without constraint. Vulnerability and agency coexist within the same form.

The piece isolates this condition as a broader principle: that interaction can be structured through openness rather than control, and that small acts of connection can redefine the dynamics of a given system.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 8 copies on 300 gram Hahnemuller etching paper. Plate size: 12.5 cm x 15.8 cm (3.9 X 6.2 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 12,5 x 15,8cm
Paper Size: 30 x 40cm
Composition No.: 16

The Barbarian presents a single hand defined by scale, weight, and potential force. Isolated from the body, it becomes less an anatomical detail and more a concentrated expression of power.

The work frames this power as latent rather than active. The hand is still, yet its form suggests capacity—grip, pressure, impact. What is shown is not an event, but the condition that precedes it: the presence of force without visible restraint.

This asymmetry extends beyond the figure itself. The hand implies a relational structure in which power is unevenly distributed, shaping how others must respond, anticipate, or adapt. The gesture does not need to act to define the space around it.

The piece isolates this condition as a broader principle: that dominance can exist as a persistent state, where the potential for action structures behavior even in its absence.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 7 cm x 9.2 cm (2.8 X 3.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 7 x 9,2cm
Paper Size: 30 x 40cm
Composition No.: 17

The Prostitute presents a fragmented image reduced to a single feature. The absence of the full figure shifts attention to what remains visible, where identity is condensed into a surface shaped by interaction.

The work frames this reduction as a structural condition. The individual is not encountered as a whole, but through partial representations that are repeatedly engaged and altered. The smudged surface registers accumulation—contact, use, and transformation without continuity.

This condition produces a disjunction between presence and recognition. What is visible is accessible, yet incomplete; what constitutes the person remains obscured. Identity is not erased, but constrained within the limits of how it is perceived and engaged.

The piece isolates this dynamic as a broader principle: that systems of interaction can reduce individuals to functions, where visibility does not equate to acknowledgement, and where fragmentation becomes a persistent mode of existence.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 5 copies on 300 gram Hahnemuller etching paper. Plate size: 8.8 cm x 11 cm (2.8 X 3.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 8,8 x 11cm
Paper Size: 30 x 40cm
Composition No.: 18

The Pianist presents a pair of hands marked by use and deterioration. Their condition suggests a history of strain and exposure, where the body carries the imprint of lived experience.

The work frames the hands as a record rather than a symbol. Discoloration, asymmetry, and fragility register time and condition without explicit narration. What is shown is not an event, but its residue—retained within the structure of the body.

Despite this, the posture of the hands remains oriented toward function. Their positioning suggests continuity: a retained capacity for expression that persists beyond disruption. Form endures, even as it is altered.

The piece isolates this condition as a broader principle: that the body holds memory as structure, and that the capacity to create can persist within systems shaped by damage.

DETAILS AND DIMENSIONS

This intaglio and aquatint etching is hand pulled in a limited edition of 5 copies on 300 gram Hahnemuller etching paper. Plate size: 9.8 cm x 15.1 cm (3.8 X 5.9 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 9,8 x 15,1cm
Paper Size: 30 x 40cm
Composition No.: 20

Geometricas I presents a geometric structure organized around repetition and internal continuity. The form suggests a tessellated system in which lines fold back into themselves, creating a closed yet dynamic configuration.

The work frames geometry as a self-referential structure. Boundaries that appear fixed begin to dissolve as internal relations extend and reconnect, producing a condition in which inside and outside are no longer clearly separable. Form is maintained, but its limits become unstable.

This recursive arrangement shifts geometry from static representation to active process. Balance is not achieved through symmetry alone, but through the continuous redistribution of relations within the structure.

The piece proposes geometry as a model for thinking: a system in which order emerges through repetition and transformation rather than fixed containment.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 4 copies on 300 gram Hahnemuller etching paper. Plate size: 15.9 cm x 22.2 cm (6.3 X 8.7 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 15,9 x 22,2cm
Paper Size: 30 x 40cm
Composition No.: 24

Black Sun presents a dark, central form set against a luminous field, establishing a tension between illumination and obscurity. The composition isolates a moment in which clarity is interrupted by an internal shadow.

The work frames this interruption as a structural condition rather than an anomaly. The presence of darkness within a field of light suggests that visibility and obscurity are not separate states, but interdependent aspects of perception and experience.

This contrast extends to the psychological domain. The central form is not treated as absence, but as a zone of internal density—where unresolved elements, latent structures, or unarticulated states remain present but not fully accessible.

The surrounding field maintains a condition of continuity, positioning the dark form as part of an ongoing process rather than a final state. The piece isolates this relationship as a broader principle: that moments of obscurity are embedded within systems of clarity, and that transformation emerges through their interaction.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching on three separate copper plates is hand pulled in a limited edition of 4 copies on 300 gram Hahnemuller etching paper. Plate size: 19.9 cm x 28 cm (7.8 X 11 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 19,9 x 28cm
Paper Size: 30 x 40cm
Composition No.: 25

The Window Within presents a minimal aperture whose orientation remains uncertain. What appears to be a stable frame is subtly destabilized, shifting between interior and exterior, observation and projection.

The work frames perception as an active construction. Rather than revealing a fixed reality, the “window” exposes the mechanisms through which coherence is imposed on ambiguous input. The viewer is positioned within this process, confronted with the limits of what can be directly known.

This ambiguity extends inward. Self-perception is not treated as transparent, but as mediated by interpretive structures that shape how experience is organized and understood. What appears as introspection is therefore contingent, formed through the same processes that govern external perception.

The piece isolates this condition as a broader principle: that clarity and distortion are not opposites, but coexisting aspects of how reality—both external and internal—is constructed.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching on three separate copper plates is hand pulled in a limited edition of 4 copies on 300 gram Hahnemuller etching paper. Plate size: 8.1 cm x 11.7 cm (3.2 X 4.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 8,1 x 11,7cm
Paper Size: 30 x 40cm
Composition No.: 27

The Brutalist Totem examines architecture as a marker of collective identity within the modern city. The vertical structure is treated as a condensed form of urban presence, where density, repetition, and material weight reflect the conditions of contemporary life.

The work frames the city as a system of proximity. Individuals remain distinct, yet are continuously brought into relation through shared infrastructure and spatial constraint. The structure becomes an index of this condition, registering accumulation rather than singular narrative.

Concrete, in this context, is not neutral. Its mass and uniformity express resilience and endurance, while also reflecting the anonymity and scale of urban environments. The totem no longer encodes a fixed lineage, but a distributed and evolving identity shaped by coexistence.

The piece isolates this transformation as a broader principle: that collective identity in modern systems emerges not from origin, but from sustained interaction within shared structures.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching is hand pulled in a limited edition of 2 copies on 300 gram Hahnemuller etching paper. Plate size: 13.2 cm x 28.6 cm (5.2 X 11.3 inches) paper size: >30 cm x 40 cm (>12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 13,2 x 28,6cm
Paper Size: 30 x 40cm
Composition No.: 30

Rita Chernobyl presents the portrait of a woman shaped—and ultimately eroded—by historical catastrophe. Her figure remains, but her features are partially dissolved, suggesting not only physical damage but the gradual loss of identity under invisible forces.

She appears as a figure in dilution: outlines blurred, pigments leached, as if radiation has affected not only the body but its representation. The face resists full recognition—reduced to fragments, traces, and absences. This visual instability functions as a metaphor for erasure: the slow disappearance of the individual within systems of damage that are both unseen and insufficiently acknowledged.

The work does not depict a singular victim, but a condition. Rita becomes a residual figure—an index of how technological progress, when detached from responsibility, produces forms of harm that persist beyond visibility and beyond immediate accountability.

Rather than representing death, the piece addresses contamination: not only of the body, but of trust, of knowledge, and of the belief in controlled advancement. In this sense, Rita Chernobyl operates as a record of systemic failure, where the consequences of human action remain present but only partially perceptible.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching is hand pulled in a limited edition of 4 copies on 300 gram Hahnemuller etching paper. Plate size: 8.1 cm x 11.7 cm (3.2 X 4.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 8,1 x 11,7cm
Paper Size: 30 x 40cm
Composition No.: 43

Geometricas II presents a geometric structure defined by extension into space. The rectangular form is treated not as a flat shape, but as a volumetric condition—articulating relationships between interior and exterior, containment and openness.

The work frames geometry as functional organization. Proportion, alignment, and repetition establish a system in which form is determined by its internal logic rather than external reference. What emerges is a structure that is both stable and directional, guiding how space is perceived and inhabited.

This configuration positions geometry as constructive rather than descriptive. The form does not represent space; it organizes it, creating a framework through which light, volume, and relation are structured.

The piece isolates this condition as a broader principle: that clarity and coherence arise from the alignment of form and function within a defined system.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 2 copies on 300 gram Hahnemuller etching paper. Plate size: 19.9 cm x 13.8 cm (7.8 X 5.4 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 19,9 x 13,8cm
Paper Size: 30 x 40cm
Composition No.: 28

Geometricas III presents a geometric form that resists complete resolution. Its structure suggests precision and order, yet remains partially indeterminate—positioned between clarity and ambiguity.

The work frames geometry as a limit condition. While form implies rational construction, it does not yield full comprehension. Edges, planes, and volumes align, but do not resolve into a fully stable or transparent system.

This tension positions the structure at the boundary between knowledge and uncertainty. Geometry, often associated with certainty and measure, becomes instead a site where understanding remains incomplete.

The piece isolates this condition as a broader principle: that even within systems of apparent order, there exist elements that resist full interpretation, maintaining a persistent gap between structure and meaning.

DETAILS AND DIMENSIONS

This intaglio and aquatint etching is hand pulled in a limited edition of 3 copies on 300 gram Hahnemuller etching paper. Plate size: 19.9 cm x 20.7 cm (7.8 X 8.1 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 19,9 x 20,7cm
Paper Size: 30 x 40cm
Composition No.: 29

The Tokamak examines the attempt to reproduce nuclear fusion within a controlled, terrestrial system. At its core is a confined plasma, sustained through precisely balanced magnetic fields that enable conditions similar to those found in stars.

The work frames this structure as a boundary condition. Fusion does not occur naturally in this context; it must be continuously maintained through external control. The system operates at the edge of instability, where containment and collapse remain closely linked.

This dynamic positions the tokamak as both technological achievement and structural tension. The generation of energy depends on sustaining conditions that cannot stabilize themselves, requiring constant intervention and calibration.

The piece reflects on this relationship as a broader principle: that the ability to generate power at scale is inseparable from the fragility of the systems that contain it.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 13.2 cm x 14.1 cm (5.2 X 5.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 13,2 x 14,1cm
Paper Size: 30 x 40cm
Composition No.: 38

Rubik’s Circle transforms the logic of a discrete puzzle into a continuous system. Where the cube is defined by fixed faces and separable units, the circle removes boundaries, replacing segmentation with uninterrupted adjacency.

The work frames this shift as a change in how systems are understood. In a bounded structure, elements can be isolated and aligned toward a stable solution. In a continuous topology, every movement propagates across the whole, preventing final resolution. Order becomes dynamic rather than fixed.

This condition positions interaction as inherently interdependent. Adjustment does not resolve the system, but redistributes imbalance, producing new configurations without closure.

The piece proposes a broader model of complexity in which systems cannot be solved in a definitive sense, but must be navigated as ongoing processes shaped by continuous relation.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 19.9 cm x 14.9 cm (7.8 X 5.9 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 19,9 x 14,9cm
Paper Size: 30 x 40cm
Composition No.: 35

Crystal Bubbles examines the tension between fragility and permanence. The work brings together two opposing structural conditions: the bubble, defined by instability and transience, and the crystal, defined by order and persistence.

Rather than resolving this opposition, the piece positions it as a shared boundary. Both forms depend on precise conditions—balance, pressure, and structure—through which they momentarily stabilize. What appears durable is contingent; what appears fleeting is structured.

The work frames this intersection as a model for larger systems. Stability is not absolute, but emerges from configurations that remain vulnerable to disruption. Form persists only as long as the conditions that sustain it are maintained.

Crystal Bubbles isolates this condition as a broader principle: that permanence and fragility are not opposites, but interdependent states within the same structural field.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 6 copies on 300 gram Hahnemuller etching paper. Plate size: 17.6 cm x 24.3 cm (6.9 X 9.6 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 17,6 x 24,3cm
Paper Size: 30 x 40cm
Composition No.: 33

The Altar presents a minimal interior: a dimly lit space containing a simple arrangement of stones and a distant window. The composition is reduced to essential elements, emphasizing form, symmetry, and spatial relation.

The work frames this setting as a structure of absence. The altar, traditionally a site of meaning and devotion, is here emptied of explicit reference. What remains is the arrangement itself—objects that retain their form but no longer point to a fixed system of belief.

This shift repositions ritual as formal rather than symbolic. Balance, repetition, and material presence replace narrative or transcendence. The window introduces an external reference, but offers no resolution, functioning as a boundary rather than a destination.

The piece isolates a contemporary condition in which meaning is no longer given, but deferred. Structure persists, while interpretation remains open, suspended between presence and absence.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 5 copies on 300 gram Hahnemuller etching paper. Plate size: 9.4 cm x 14.9 cm (3.7 X 5.9 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 9,4 x 14,9cm
Paper Size: 30 x 40cm
Composition No.: 44

Night Sky on Sirius examines the shift in perception that occurs when humanity is displaced from its point of origin. The work frames this condition through an altered sky, where familiar constellations dissolve and previously central reference points lose their coherence.

What was once stable and culturally anchored becomes contingent on position. The night sky—historically a fixed map of meaning—is revealed as relative, its structure dependent on where it is observed from. Orientation, identity, and continuity are therefore not inherent, but situated.

This displacement introduces a dual condition. Technological expansion enables new vantage points, while simultaneously dissolving the frameworks through which meaning was historically constructed. What is gained in reach is accompanied by a loss of familiarity.

The piece isolates this tension as a broader principle: that perspective defines structure, and that movement across scales—spatial or conceptual—reconfigures what can be recognized, remembered, and understood.

DETAILS AND DIMENSIONS

This photopolymer intaglio and aquatint etching is hand pulled in a limited edition of 1 copy on 300 gram Hahnemuller etching paper. Plate size: 17.5 cm x 40 cm (3.7 X 5.9 inches) paper size: >30 cm x 60 cm (>12 X 23 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 17,5 x 40cm
Paper Size: >30 x 40cm
Composition No.: 49

MAD-donna examines the condition of identity under extreme visibility. The work frames fame as a process in which the self is externalized, amplified, and redistributed through systems of representation.

As visibility increases, identity becomes progressively detached from the individual. The public image—replicated, consumed, and interpreted—develops its own autonomy, no longer fully aligned with the private self. What emerges is a split condition: the individual exists simultaneously as subject and as constructed surface.

The work positions this dynamic as structural rather than exceptional. In a media-saturated environment, identity is shaped through continuous exposure and performance, where recognition is tied to visibility and coherence is maintained through repetition.

MAD-donna isolates the tension between presence and projection, suggesting that the pursuit of visibility produces not a unified identity, but a fragmented one distributed across systems of observation and interpretation.

DETAILS AND DIMENSIONS

This is a collage incorporating a photopolymer intaglio-aquatint etching and pastel and is hand pulled in a limited edition of 1 copy on 300 gram Hahnemuller etching paper. Plate size: 21 cm x 29.7 cm (8.3 X 11.7 inches) paper size:  ~40 cm x 50 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 21 x 29,7cm
Paper Size: 30 x 40cm
Composition No.: 50

The Lines of Doubt draws on the traces left by subatomic particles in high-energy physics experiments. These particles are not directly observed; they are inferred through the paths they leave behind—curved, fragmented lines that register interaction without revealing the entity itself.

The work frames these traces as a model of knowledge. What is visible is not the object, but its effect—an index of interaction shaped by underlying probabilities. Each line represents a moment of partial resolution, where uncertainty is not eliminated but structured into form.

This condition positions doubt as intrinsic rather than oppositional to understanding. At the subatomic level, certainty does not precede observation; it emerges through interpretation of incomplete and transient signals.

The piece isolates this dynamic as a broader principle: that knowledge is constructed through traces, and that what is known remains inseparable from the uncertainty through which it is observed.

DETAILS AND DIMENSIONS

This photopolymer intaglio etching is hand pulled in a limited edition of 4 copies on 300 grams Hahnemuller etching paper. Plate size: 18 cm x 25.5 cm (7.1 X 10 inches) paper size: ~30 cm x 40 cm (~12 X 16 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 18 x 25,5cm
Paper Size: 30 x 40cm
Composition No.: 53

The Social Mindset examines how human cognition is shaped by the environments in which it operates. Thought is not treated as purely internal, but as conditioned by the material, social, and technological systems that structure experience.

The work frames cognition as adaptive. In less mediated environments, interaction with the world remains direct and open-ended, allowing thought to extend outward through engagement and improvisation. In highly structured and technologically saturated systems, interaction becomes increasingly preconfigured, guiding attention and behavior through established pathways.

This shift alters the orientation of the mind. As external environments become more densely organized, the space for spontaneous engagement contracts, and cognition turns inward—toward reflection, abstraction, or withdrawal. What emerges is not a fixed state, but a dynamic balance between external openness and internal pressure.

The piece proposes that mental states are not solely individual, but ecological—formed within the conditions of the surrounding system. Creativity, perception, and well-being are therefore linked to how much space remains for unstructured interaction within an increasingly mediated world.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 300 gram Hahnemuhle fine art paper. Print size: 72 cm x 130 cm (28 X 51 inches) paper size: ~120 cm x 160 cm (~47 X 63 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 72 x 130cm
Paper Size: 120 x 160cm
Composition No.: 54

Digitized Lifeline examines the translation of human existence into digital systems. Activities once grounded in physical, social, and biological processes are increasingly mediated through data—identity, communication, movement, and exchange become structured as traceable and quantifiable signals.

The work frames this shift as a condition of dependency. Participation in contemporary life is increasingly contingent on digital infrastructure, where access to economic, social, and informational systems requires a persistent data presence. The “lifeline” is no longer purely organic, but extended through interconnected networks that sustain and regulate interaction.

At the level of identity, this produces a parallel form of existence. The self is constructed through profiles, images, and behavioral patterns, shaped by systems that organize visibility and interaction. Representation becomes continuous, and increasingly inseparable from lived experience.

The piece proposes a hybrid condition in which human life operates across physical and digital domains simultaneously. This extension enables new forms of connection, while also introducing forms of dependence and modulation that remain only partially visible.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 300 gram Hahnemuhle fine art paper. Print size: 29 cm x 101 cm (11.4 X 39.7 inches) paper size: ~90 cm x 120 cm (~35 X 47 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 29 x 101cm
Paper Size: 90 x 120cm
Composition No.: 55

Sexual Selection examines mate choice as a system of signaling through which identity, value, and social alignment are expressed. In this context, selection operates not only at a biological level, but within a network of cultural and symbolic frameworks.

The work frames attraction as structured rather than instinctual. Preferences reflect encoded signals—education, status, creativity, or disposition—that function as proxies for more fundamental traits. These signals are interpreted within a shared social field, where individual choices contribute to the reinforcement of collective norms.

What appears as personal preference is therefore positioned as relational and systemic. Selection becomes a mechanism through which identity is both expressed and shaped, linking individual desire to broader patterns of social organization.

The piece highlights the continuity between biological inheritance and cultural abstraction, where underlying drives persist but are translated into increasingly complex forms of representation.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 300 gram Hahnemuhle fine art paper. Print size: 60 cm x 110 cm (23.6 X 43 inches) paper size: ~90 cm x 120 cm (~35 X 47 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 60 x 110cm
Paper Size: 90 x 120cm
Composition No.: 56

Matrix Models translates a theoretical framework from physics into a visual and conceptual proposition: that the fundamental structure of reality is not composed of objects, but of relations.

Rather than depicting particles or fixed entities, the work is grounded in the idea that what appears as stable form is the result of underlying networks of interaction. In this view, objects do not exist independently, but emerge as temporary configurations within a dynamic system of relations.

The reference to matrix models situates the work within a mathematical language where structure replaces substance. A matrix, understood as an ordered set of relations, becomes a model for how reality can be described without relying on fixed points in space or time. What remains is not a stable foundation, but an evolving field in which structure is continuously redefined.

The piece therefore operates at the boundary between abstraction and ontology, proposing a shift in perspective: from a world of things to a world of interactions, where meaning and identity arise through relation rather than isolation.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,1 cm x 31,1 cm (12,2 X 12,2 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 31,1 x 31,1cm
Paper Size: 42 x 59,4cm
Composition No.: 57

The Measurement Problem draws from quantum mechanics to examine the transition between potential and actual states. At the quantum level, systems are not defined by fixed properties, but by a range of possible outcomes that coexist until an interaction occurs.

The work engages with this condition as a conceptual structure: reality is not presented as fully determined, but as contingent—dependent on acts of observation or interaction that produce a specific result from a field of possibilities. What appears stable or resolved is therefore not fundamental, but the outcome of a process.

By translating this principle into a visual context, the piece raises a broader question about the role of the observer. It suggests that perception is not neutral, but participates in the formation of what is experienced as real. The boundary between observation and creation remains unresolved.

Rather than offering an explanation, The Measurement Problem isolates this instability, positioning it as a persistent condition at the intersection of physics, perception, and ontology.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 33 cm x 46,8 cm (12,9 X 18,4 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 33 x 46,8cm
Paper Size: 42 x 59,4cm
Composition No.: 58

Spooky Action at a Distance engages with the phenomenon of quantum entanglement, in which physically separated systems remain fundamentally correlated. A change in one is reflected in the other, regardless of spatial distance.

The work positions this principle as a challenge to classical notions of separateness. While relativity describes a universe structured by local interactions and finite limits, entanglement suggests a deeper level in which such boundaries are not fundamental, but emergent.

This tension reveals a discontinuity between how reality behaves and how it is perceived. What appears as distance or independence may conceal an underlying relational structure that remains inaccessible to direct observation.

Rather than resolving this contradiction, the piece isolates it: a condition in which locality and nonlocality coexist, and where the coherence of the system exceeds the limits of intuitive understanding.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,5 cm x 31,5 cm (12,4 X 12,4 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 31,5 x 31,5cm
Paper Size: 42 x 59,4cm
Composition No.: 60

Neanderthal Now examines the persistence of alternative forms of human cognition through the figure of the Neanderthal. Rather than treating Neanderthals as an extinct lineage, the work positions them as a parallel structure within the broader spectrum of human identity.

The piece draws on the fact of genetic interrelation to challenge linear models of evolution. Human development is not presented as replacement, but as overlap—where multiple forms of perception, behavior, and adaptation coexist within a shared system. What is considered “modern” is therefore not singular, but composite.

This framing extends beyond biology into cognition. Differences in sensitivity, expression, or response are understood not as deviations, but as traces of a more diverse cognitive inheritance. Identity becomes layered, shaped by multiple lineages that remain partially present.

The work proposes a shift from a singular definition of humanity to a plural one, where variation is not residual, but constitutive of what human intelligence is.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 30 cm x 45,5 cm (11,8 X 17,9 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: August 28, 2025
Print Size: 30 x 45,5cm
Paper Size: 42 x 59,4cm
Composition No.: 61

Train Your AI examines the process through which artificial systems acquire structure and behavior through exposure to data. Training is not presented as a neutral procedure, but as the mechanism by which a system’s internal model of the world is formed.

The work emphasizes that datasets are not uniform. They differ in content, perspective, and omission, and these differences shape how a system interprets, prioritizes, and generates information. What an AI produces is therefore inseparable from what it has been exposed to.

Training becomes a form of constraint and selection. It defines the boundaries of what can be recognized, what is considered relevant, and how coherence is established. Each system reflects a specific configuration of knowledge—partial, structured, and contingent.

The piece frames this process as a form of world construction. Distinct datasets produce distinct ways of interpreting reality, resulting in a plurality of artificial perspectives that do not fully align, even when built on similar foundations.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 30 cm x 47 cm (7,8 X 12,2 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: August 28, 2025
Print Size: 30 x 47cm
Paper Size: 42 x 59,4cm
Composition No.: 62

The Probability of Fusion draws on the physical conditions required for nuclear fusion, the process through which stars are formed and sustained. Fusion does not occur automatically; it depends on specific thresholds of mass, pressure, and temperature being reached.

The work treats this as a structural condition rather than a purely physical event. Illumination—understood here as both energy and presence—emerges only when these constraints are met. Below this threshold, matter remains inert; beyond it, transformation becomes possible.

This framing positions the star not as a given object, but as the outcome of a convergence: a point at which probability becomes realization. What appears stable and continuous is therefore contingent on conditions that are both precise and fragile.

The piece reflects on this boundary as a general principle—how systems transition from potential to activation, and how the emergence of light depends on configurations that are never guaranteed.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 50 cm x 35,3 cm (11,8 X 16,8 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 50 x 35,3cm
Paper Size: 42 x 59,4cm
Composition No.: 64

Neighbourhoods of Syd and Sam explores a relational model of reality in which entities are defined not by intrinsic properties, but by their connections to others. Each figure represents a localized perspective within a broader network, shaped by the specific set of relations that constitute its position.

The work frames a “neighbourhood” as a field of interaction rather than a physical space. What is perceived as an individual viewpoint emerges from a subset of overlapping relations, forming a partial and situated representation of a larger system. No perspective is complete; each is structured by proximity, connection, and limitation.

The overlap between neighbourhoods becomes central. Shared relations create points of correspondence, while differences produce divergence in perception. Reality, in this sense, is not singular or uniform, but distributed across multiple, interconnected viewpoints.

The piece proposes a shift from isolated identity to relational existence, where what something is cannot be separated from how it is connected.

DETAILS AND DIMENSIONS

This Giclée print is a limited edition of 7 copies printed on 260 gram Velvet fine art paper. Print size: 31,6 cm x 44,7 cm (12,4 X 17,6 inches) paper size: 42 cm x 59,4 cm (16,5 X 23,4 inches). Each print is numbered and signed and sold without a frame.

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Publication Date: September 4, 2025
Print Size: 31,6 x 44,7cm
Paper Size: 42 x 59,4cm
Composition No.: 63