Painting size: 60 x 40 inch
Media: Robotic acrylic on canvas with screen animation
I collaborated with a painting robot that I trained to work in my style. We built a 60 × 40 inch canvas of turbulent color and gesture, then I projection-mapped four looping animations onto it with Millumin. Each loop performs a symptom of anxiety: head knocking, echoing speech, throbbing pain, eyes held wide. Layering robotic mark-making with moving light turns the painting into a living surface where thought and body glitch together. I used Millumin’s color filters and a recursion layer to feed the live image of the canvas back onto itself, creating an unstable blur that feels both hypnotic and uneasy. Treating light as another brushstroke, I explore how automation and anxiety share a language of repetition, control, and loss of control.
Size: Self-made lightbox size: 60 x 50 x 25 cm
Media: Copic on 4-sided thermoplastic lightbox + Arduino
I built a four-sided lightbox to animate a portrait using only light and reflection, no screen projection. On plexiglass panels I drew four life stages of one figure, from baby to elder, and mounted them around a central cavity. I programmed an Arduino to sequence LEDs so reflections slide across the surfaces, making each age appear, overlap, and dissolve into the next. The color is not fixed pigment so much as moving light, which means the portrait exists through change. The piece turns aging into a visible rhythm, a life flickering between surfaces, never still or whole. Code, drawing, and illumination merge to treat identity as an afterimage that keeps reforming like memory replaying itself.
Wood panel size: 35.5 x 46 cm
Media: Mixed media on wood panel with screen projection
This piece explores Obsessive Compulsive Disorder (OCD) by creating a visual metaphor for an intrusive thought loop. Using Millumin software and a live camera, I projected my drawing back onto the physical artwork, creating an infinite feedback loop. As the video continually re-records its own projection, the image feeds on itself and distorts, just as an intrusive thought can replay until it becomes noise. The smiley-face lenses flicker between cheerful and uneasy, showing how a simple thought can twist and return as an anxious one. By layering digital light onto the mixed-media surface, the piece pulses between the real and the unreal, mirroring how OCD can hijack attention. This process externalizes an internal experience, allowing me to witness the mechanics of obsessive thinking as a tangible loop of light and image.
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