​Geometry serves as the ordering logic of these works. Rather than symbolic mysticism, I approach geometry as a formal and structural inquiry—proportion, symmetry, and quasicrystalline patterning—to generate fields that feel both precise and alive. The goal is not illustration but embodied attention: to stage conditions in which looking becomes an experience of presence.​​​​​​​​​​​​​​

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Motion—especially rotation and spin—anchors the kinetic pieces. Their cycles echo natural rhythms and remind us that perception is temporal: form emerges, dissolves, and reconfigures. The afterglow of phosphorescent layers extends this temporality, allowing images to unfold in darkness and register memory as light.

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I aspire to build environments where these elements converge. The ongoing Aliume Temple Project envisions a permanent light environment that integrates painting, sculpture, and kinetic systems with architectural space—an interior calibrated for contemplation, research, and public encounter. In this sense, experience is the work: light organizes space; space organizes attention; attention opens meaning.

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Light is not merely my subject—it is the material through which I think. By aligning material innovation with rigorous form, I aim to expand how art is seen, felt, and understood across spectrum, motion, and time."
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