Unplain Air: Notes from a Portable Forest continues the tradition of plein air painting using mixed reality technology. I paint landscapes based on a conjured virtual environment while wearing augmented reality glasses. The goal is to establish a connection between the real and imagined by interpreting this portable dreamscape. The open spaces of the room are populated by an array of hypernatural forms - tree barks patterned, natural forms assuming unnatural colors. This immersive approach increases the probability of achieving a vitality and vividness sometimes lacking in work from secondary sources. As the artist, I control every feature of this virtual world. The mixed reality framework synthesizes the spontaneity of plein air painting with the advantages of a mutable virtual landscape. I see this as a bridge between the physical and virtual.

Moltmode is a comprehensive, speculative fashion house exploring the intersection of technology and creativity. Through the power of generative models, a fleshed-out vision was made possible. The images on the site are the result of thousands of iterations – drawings, designs, and variations building upon those initial concepts. A great deal of research went into the selection of material, pattern, and fabric – all virtual, hypothetical, and aspirational for now.

This project highlights the ability of these models to promote ideation and real-time creativity. It allows the externalization of imagined ideas even if one lacks the capacity, training, or budget to traditionally realize them. The process of imagining and inventing is central to the experience. While these designs may never see the light of day, the ability to conjure, iterate, and develop them in full color and detail – even with the limitations of earlier generative models – proved a worthwhile exercise. https://www.moltmode.com/

Alternate Currents visualizes repetitive body movements associated with autism and other neurodevelopmental conditions, sometimes termed "stimming." Using motion capture and 3D modeling, I distill the movements into virtual particles and frameworks, highlighting inherent rhythms and patterns. Aesthetic choices relate participant perspectives on the feeling of stimming. The goal is to reframe conversations and make the invisible visible by giving form to these often-misunderstood movements. For this project I collaborated with Dr. Dan Kennedy, Professor, Psychological and Brain Sciences, and a neurodiverse group of friends, students, and community members.

This project aims to provide personalized feedback by integrating a fine-tuned and RAG-enabled language model with computer vision. It is designed to facilitate the evolution of one’s visual language through interactive critique sessions, a personalized feedback loop, style adaptation features, and a privacy-centric design. The technical framework utilizes the PyTorch framework for its flexibility and comprehensive library support. Implementation involves training models on diverse datasets, integrating natural language processing with visual analysis, and developing a user-friendly interface. The project also addresses challenges such as diverse artistic styles, feedback complexity, and balancing model generalization with personalization. The beta version of this tool is scheduled for public release in June 2025, offering artists a new way to engage with their work, hone their vision, and Strengthen aptitude for critically situating creative production within layered theoretical, social and art historical frameworks.

“Varsouviana was a dramatic indie rock, dark cabaret, gypsy-folk music group known for playing frenzied live shows in Indiana and the midwestern United States. They recorded only a handful of songs but are remembered for playing long sets filled with unpredictable chord shifts, abrupt tempo changes, skittering vocals, and elaborate percussion. The lyrics in their songs touch on subjects ranging from a tale about spouse-swapping aliens to a song about baroness who goes to gruesome lengths to maintain her voice and appearance. In one song, the artist envisions a dystopian future where a popular reality TV show features rival gangs of thieves competing against each other. The contestants engage in increasingly audacious acts of racketeering, swindling, and general mischief-making to win the adoration and support of viewers. Think American Idol, but for criminals. This satirical premise is characteristic of the groups fascination with sensationalism and the blurring lines between entertainment and morality in a media-driven world.“ - Shine, UK

Pure Magic: From Parlor Tricks to Prophecy, AI and the Unimaginable” is a written work that blends magical realism, speculative nonfiction, and a diaristic approach to storytelling. It follows a narrator (an exaggerated version of me) as he explores themes of technology, AI, and the implications of rapid scientific advancement. The main character experiences awe and unease as AI capabilities blur the line between magic and science. The text publication appeared in a March 2024 issue of Half and One magazine, but I have added a link below to a free audio version of the preprint.

In this series of drawings, including "Pecking Order" and "Prospectors Prospecting," I explore themes of social hierarchy, competition, and the pursuit of resources. The elaborate, clownish clothing of the figures, reminiscent of various historical periods, comments on the absurdities and superficiality often accompanying the pursuit of power.

The distorted figures and exaggerated hands and arms convey individuals jostling for status, with elongated limbs and grasping motions suggesting a constant striving for control. The characters' clothing and postures reference how the search for power shapes interactions, influenced by gender norms, stereotypes, and hierarchical structures.

The layered compositions, intertwined figures, and recurring presence of grasping hands and arms mirror the complexity of social structures and reinforce themes of competition, manipulation, and the struggle for control.

Night For Days is a music project in which my collaborators and I use outdated, broken, and repaired obsolete musical equipment and instruments, including cracked organs, defective Russian Cold War-era microphones, and water-damaged guitars. The track linked here is from a collection of songs about sacrifice and the transience of the human experience.

For a long time, painters—even those of us who see inherent virtue in depicting nature and the world around us—have declined to pursue landscape painting as a primary focus. This reluctance stems from the genre's controversial history in the Western tradition, which has been associated with colonialism, the romanticization of nature, and the exclusion of certain perspectives. As a result, the art world has largely moved away from traditional landscape painting, favoring more conceptual, socially engaged, and diverse forms of art-making.

I recognize the reasons behind the shift and confine my engagement with landscape painting to something of a side project—an activity, a means of recalibrating how I look and what I see. Painting from the motif offers a way to organize my thoughts and enjoy the process of negotiating a translation of the 3D world to the 2D world of the picture plane. It's an opportunity to experiment with different ways of conveying the same idea, such as depicting the same leaf using various shorthands and marks. These paintings are not grand statements or attempts at persuasion; they are personal explorations, a way to engage with the natural world and the process of painting itself. By approaching landscape painting as a means of observation and experimentation, I can engage with the genre while acknowledging its complex history.

While my primary studio work typically involves busy compositions, varied surfaces, and flat figures, I have been painting and drawing strange faces. "Peepers and Ponderers" is a collection of head studies of imagined characters pieced together from stolen glances and observations. I'm drawn to unusual features and quirks, combining elements to create distinctive personalities. The "Peepers" have arresting eyes, while the "Ponderers" seem lost in thought. These studies allow me to hone my skills, explore the human face intimately, and let my imagination play a significant role, ultimately enriching my larger studio practice.

This series of dye sublimation prints on aluminum presents the imagined collections and contraptions of an archivist, naturalist, mystic, and hypnotist who has assembled pictures, notes, captions, creatures real and concocted, defunct devices, neon signs, wishes, complaints, promises, and occasional secrets into communication devices for sending mystical messages.

I begin with digitized photographs from my object collections, 3D models sculpted in ZBrush, and renders completed in Cinema 4D. I use these sources as foundations for training and fine-tuning image AI software that I then use for iterating upon, embellishing, and reformulating my foundational vision. By volleying between photography, 3D modeling, neural network manipulation, and compositing in Photoshop, I alternately relinquish and regain control in the hopes of realizing composites that are unpredictable, perplexing, uncanny, and quasi-spiritual.

DescriIn "Flotsam and Brimstone," the combination of carved foam, found objects, and fabric treated with acrylic, flashe, and oil paints builds a narrative around the debris of the sea. This series isn't about the convergence of different mediums; rather, these mediums are tools that shape a depiction of marine life entwined with human detritus.

The works offer a visual commentary on what the tides relinquish—maritime elements interspersed with traces of human existence. It's a straightforward representation of the ocean's ability to both claim and reveal, prompting contemplation on the cycles of nature and the imprints of human activity.ption goes here

During my college years, I painted murals in homes around Cambridge and Boston to supplement my income. Using a pseudonym, I explored a more decorative, applied arts direction that differed from my primary artistic voice. Inspired by Roman frescoes and Persian illuminated manuscripts, I started with hand-painted studies and murals in relatives' homes. I have since scanned these creations and trained a generative model to iterate on my visual design language.

EINFÜHLUNG is a project that investigates the potential of custom murals, wallpaper, and hand-knotted wall coverings to transform interior spaces. The designs draw from ancient art forms and natural patterns, incorporating hidden details and recurring motifs that encourage closer examination and personal interpretation.

The name "Einfühlung," which means "feeling into," reflects the project's goal of creating a strong connection between individuals and their surroundings. Although still in the proof-of-concept phase.

Where I Stash My Words

Miscellaneous thoughts, long- and short-form writing, reflections, studio notes, nerd-outs about color, inspirations, works-in-progress, impractical advice, and not-so-well-kept secrets about my studio practice and process.

Studio Einfühlung began as an exploration of experimental film and expanded into a broader effort to shape pacing, aesthetics, sound, and movement as a unified whole. It serves as a container for projects that experiment with media in ways that are sometimes immersive, often empathic, and always exploratory.

Apparently, I am sticking with the term Einfühlung for more than one venture.

Coming soon to the site: explorations of AR, MR, and VR projects, including immersive artifacts where characters do not follow prescriptive paths but respond dynamically to evolving scenarios. These projects exist within structured but flexible frameworks—akin to improvisational theater, where core elements remain but unfold organically based on interaction and context.

Voice-to-Face: Speculative Portraiture explores AI, voice analysis, and painting to rethink contemporary portraiture. I developed an application that analyzes vocal characteristics—pitch, shimmer, and jitter—to generate AI-derived facial images, which I then reinterpret through painting.

Though voice-based facial prediction has been explored in forensic contexts, such methods reflect biases and limitations in their training data. This project shifts from scientific accuracy to artistic speculation. By moving from voice to AI-generated image to painted portrait, the work examines how technology mediates identity and representation.

Conversing with History

Interactive Thoreau allows you to engage directly with an AI embodiment of Henry David Thoreau, rather than searching through scattered letters, dense academic texts, or voluminous PDFs. Ask questions and receive thoughtful responses approximating what Thoreau himself might have said.

Unlike generic personality chatbots found online, this application draws from an extensive, carefully curated corpus including Thoreau's complete published works, 14 volumes of journals, and over 800KB of personal correspondence and letters. The dataset was meticulously cleaned and compiled to capture his authentic voice and philosophical perspective.

This represents a new paradigm for engaging with literary, artistic, and historical figures—making their wisdom accessible through natural conversation rather than academic research.Currently password-protected to manage API costs. Contact me for access.ion goes here

Reading Mate is a contextual reading companion that tailors every annotation to the reader’s background. A dropdown lets users pick a vantage point—comparative-literature scholar, software engineer, philosopher, Ethicist, teenager, lawyer—so explanations shift tone, depth, and metaphors to match domain knowledge.

Accepts .txt, .md, and .html or live text.

Highlight text and press Alt + A to receive an AI-generated note.

Shortcuts control theme and export; the modular backend swaps OpenAI, Groq, and ElevenLabs models without code changes.

AR preview shows the interface in heads-up displays.

For now the app sits behind a passcode to avoid exhausting the API. If you want a 24-hour test window—whether for teaching, research, or general curiosity—email me for temporary access. Version 2.0.0 is stable and ready for targeted feedback.

The Oracle Entity Project is an interactive public artwork that lets visitors hold real-time conversations with a cloud-like, holographic “Entity” that can adopt the voices and perspectives of fourteen notable Hoosiers—from Kurt Vonnegut and Hoagy Carmichael to Elinor Ostrom and Larry Bird. A transparent screen (or larger scrim wall) shows the floating, point-cloud face; a beamforming mic and depth camera lock onto one speaker at a time; and a retrieval-augmented GPT-4o model draws on carefully curated local archives to answer questions in each figure’s distinct cadence. The result is a living digital monument that blends Indiana lore, cutting-edge AI, and kinetic visual art into a single, walk-up conversation.

Conversing with Satire

Interactive Vonnegut allows you to engage directly with an AI embodiment of Kurt Vonnegut Jr., rather than searching through scattered interviews, dense literary criticism, or voluminous archives. Ask questions and receive sardonic, compassionate responses approximating what Vonnegut himself might have said.

Unlike generic personality chatbots found online, this application draws from an extensive, carefully curated corpus including Vonnegut's complete novels, commencement speeches, interviews, and personal correspondence. The dataset was meticulously compiled to capture his authentic voice—marked by "Listen:" conversation starters, "So it goes" fatalistic observations, and his characteristic blend of satirical humor with deep human compassion.

This represents a new paradigm for engaging with literary, artistic, and historical figures—making their wisdom accessible through natural conversation rather than academic research. Enhanced with ElevenLabs voice synthesis for an immersive experience. Currently password-protected to manage API costs. Contact me for access.