If an orchid looks within itself, it realizes that its presence depends on the bugs, birds, and people that pollinate it. The orchid realizes the rain and the sun are within itself. Together, they endlessly change, bloom, and decay, suffused with light, energy, and love.

By examining herself, the orchid forgets herself, and therefore is verified by all things.

Orchids

'nth culture' takes inspiration from the textile heritage of my maternal homeland of Bamenda, Cameroon. Toghu and Ndop fabrics are rich in meaning, using a selection of motifs, colour palettes, patterns, and compositions that have lineages to specific places and traditions. This collection is a celebration of identity, abstracting interwoven narratives of textile heritage through generative coding to reflect the experience of children of the diaspora; living lives in spaces between multiple cultural worlds. nth culture explores the concept of 'Third Culture' and reflects on the unique diversity of personal identity.

nth culture

FULL_SPECTRUM simulates, and traces the full visible spectrum every time it runs. The colors you see are a result of which wavelengths found a path to the LIGHT.

Press `v` to toggle a debug panel.

FULL_SPECTRUM

They answered. Will the message be one of peace?

Obicera

“Fragments of an infinite field” is a compositional system in which an idealized plant species is generated and arranged in a potentially infinite field of foliage. The main environmental parameter of the composition is the determination of a season of the year. The season determines the landscape’s colors and defines specific phenomena for each of them, such as rain in summer, snow in winter, petals falling in autumn, and pollen in spring. The flower has several possible variables, which can be macro aspects, affecting the entire population of the species, or micro, affecting each individual of the species differently. For example, the number of petals can be equal in all individuals or not. The number of filaments and other structures of the flower can undergo minor deviations, generating small mutations. The confusion between the figure (plant) and the background (earth, sky, other natural elements) is fascinating from a compositional point of view. The background colors are, most of the time, colors present in the figures, often breaking the boundary between them and, therefore, generating chromatic masses. In this project I also intend to research the following question: How to create parameters that resemble a living organism's growth? In this sense, the project approaches digital morphogenesis and the development of procedural organisms.

Fragments of an Infinite Field

"Edifice" is a series of 976 massive, deteriorating structures built on strange terrain. It is an exploration of buildings being conceptualized, constructed, and eroded away under a wide variety of conditions. Edifice's outputs run the gamut between minimal and maximal, with some showing few large, static blocks of color, and others many small, highly textured and warped shapes. Each image is progressively constructed in front of the viewer's eyes. It is a system full of surprises that I'm excited to share with the world.

Edifice

Memories of Qilin is inspired by traditional East Asian art. It channels the sense of movement and fluidity found in classical Chinese brushwork, while drawing from the colors, patterns, and forms of ukiyo-e woodblock prints. 

The series explores elements of folklore, evoking the mythological imagery of dragons, phoenixes, flowers, and mountains.  The title references a fabled chimerical beast found throughout East Asian mythology (while the qilin is its Chinese name, it is also known in Korea as the girin and Japan as the kirin) that represents prosperity and luck.

Viewers are invited to interpret elusive forms that verge on representation. As with the stories passed on through generations, each piece is imagined, organic, and ever-in-flux.

Memories of Qilin

Anticyclones are a weather phenomena.
They pierce through darkness to instill peace and calm. Their planetary scale reminds us of how little we are and how powerful they can be.

High pressure, rotation, air flow… The "Anticyclone" series is an artistic exploration and interpretation of those concepts.

The rendering borrows its aesthetics from traditional and organic media like paper and crayons, to lend an analog/archival look.

"Can a computer draw like a human?"
The question is asked and challenged once more through "Anticyclone".

[Press the left/right keys to explore the different steps building the final image. Bottom/top for the first/last step. Can be intense for your machine]

Anticyclone

What lies between everything else? A reflexion on scale, shapes, the infinitely small and the infinitely big.

Void

On a cosmic stage, these actors sing an infinite song. What do they reach for? Who are they searching for? Do their faces show wonder—or sadness? Sometimes they sing for themselves, sometimes they sing for the crowd, and sometimes they sing for the void. Like us. (25% to environmental charities)

The Opera

Watching a DVD logo bounce around a tv, our inclination is to predict where it will go. There is a well-defined process of particle and boundary that makes this possible. But what if the particle and boundary were the same? If there was no distinction, if a point could reflect against its own history, if a ray could change its conditions as it experiences them? If light could interact with itself and countless others simultaneously in a fractalized infinity, shaped by time, giving structure to time itself—where might it end up?

Lightbreak

Those structures suddenly appeared, yet they don't talk to us. Yet.

Messengers

The continuum of what we sample stretches beyond the realm of the fathomable, yet even when we extract but a single drop of water, we find within it entire ecosystems of life and interactions. It's tempting to view each drop as a world, contained beautifully by surface tensions. Yet, when given the chance, even the smallest ecosystem will naturally merge with any other body of liquid, erasing and re-writing the depth and composition of the life within. This series acts as a multitude of samples drawn from the same intertidal zone of artificial life, deceptively singular and delimited, patiently awaiting the chance to diffuse into something greater.

Intertidal Samples

When we examine even a tiny drop of water, we uncover thriving communities of life and interconnections. It is easy to see each drop as a self-contained world, bounded by surface tension. However, given the opportunity, even the smallest of these ecosystems will blend with other bodies of liquid, altering the life forms and composition within. This series represents a collection of samples taken from the same intertidal area of artificial life, forming a collection of microscopic worlds, all seemingly singular, yet patiently waiting for the chance to blend into something greater.

Intertidal Samples 2.0

An exploration of light, grounded in physical reality, but reinterpreted through code. Each scene is set with only a handful of spheres in motion, some refracting, and the rest emitting computer-simulated rays of light. Billions of these rays are cast through the scene, each with their own wavelength and phase determining their complete trajectory and final color contribution to the image. This detailed and physically-based approach to rendering allows the program to produce images that are simultaneously rooted in reality, but also transcend it by bending rules and allowing for observations in a way only possible through simulation.

These experiments lie at the intersection of art, technology, and science, and they are born from my own sense of wonder and awe with the medium of computer artwork. They represent a study of motion, light, and simple geometric forms, which through simulation challenge the relationship between the physical and the digital.

JavaScript and GLSL  
PNG 5800x4800px

Light Doesn't Bend That Way

I'm fascinated by our minds' ability to pull meaningful figures, narratives, and personas from randomly arranged shapes and colors. 'how you see me' explores this phenomena (called 'pareidolia') through a series of computer-generated, human-curated digital artworks. Each piece is generated purely with code. The code simulates the action of gently stirring blobs of paint via a series of randomly applied strokes. Colors are computed via Kubelka-Munk theory, using spectral coefficients derived from Golden Heavy Body Acrylics provided by the lab of Roy Berns.