In 1991, a bike accident left me with a broken arm, sparking an early fascination with the body's limits and how technology mediates recovery and performance. While recovering, I spent hours playing Sega games, my first experience of navigating digital worlds through simulated movement and control. This encounter with early video games deepened my curiosity about how virtual space could train perception and rewire the body. Growing up as a Division I tennis player at Coastal Carolina, I became immersed in the pursuit of accuracy—learning how athletic training and technological tools could refine both body and mind. This collision of sport, endurance, and machine became the foundation of my art. Today I approach each artwork as a kind of training: an exploration of how technology rewires perception, reshapes the body, and reconfigures our relationship to nature and the social world.

I am an interdisciplinary artist working across photography, video, collage, sculpture, and installation, driven by a 'docu-fiction' approach. My work explores the intersections of physical and virtual realities. I take historical subjects or familiar places and alter them to produce speculative narratives. Landscapes become surreal dystopias; human bodies merge with software; everyday objects take on agency. Early series like Utopics (2004 - 2007) introduced a corporation that offered to transform humans into animals, speculating on how bodies might evolve under technological and environmental pressures. Sahara Sahara (2009) followed a group of vigilante women confronting the oil and gas industry. Bridge Kids (2010) embeds a fictional psychic character within 20th-century history, using film, CGI, and photography to question how technology and intuition blur the boundary between fiction and truth.

Athletic endurance resurfaces in The Tie Break (2011), a rigorous re-enactment of the legendary fourth-set tie-break from Björn Borg and John McEnroe's 1980 Wimbledon final. Co-created with Tibi Tibi Neuspiel, it merged sport, performance art, and historical ritual, foregrounding the labour behind both athletics and art. White Condo (2015) followed, shifting to speculative architecture: a photographic and video collage about competition for luxury living as a protective bubble against ecological collapse. Four Winds (2017) introduced multichannel video sculptures imagining futurist medicine and meditation coaches. Sarah's Garden (2019) integrated screens into architectural forms to create an artificial butterfly conservatory.

Xam (2020) is a sci‑fi exploration of surveillance, body hacking, and transhumanism, following a man who opens a strange text and is pulled into a wormhole that sends him from London to Kiev and Paris as he attempts to escape a virtual empire and return to his family. Shot in 2018 and completed in 2020, the film draws inspiration from my grandfather's 1905 escape from the Russian Empire and uses an intimate first‑person perspective and video‑collage structure to explore the fusion of human and technology. Performing as the main subject, I shot the work myself, blurring autobiography with constructed narrative through a docu‑fiction approach; match moving and lo‑fi VFX are woven directly into the narrative, marking Xam as a pivotal bridge in my practice where mixed reality, CGI, and embodied camera performance converge into a new hybrid mode.

Weather Room (2020) envisions a post-human landscape where surveillance systems and weather stations persist beyond humanity's disappearance. Using digital erasure, video collage, and sculptural assemblage, the work presents silent apocalyptic scenes that merge ecological data with technological infrastructure. The exhibition's 'hyper-sublime' atmosphere imagines a future where machines and nature coexist, outliving human presence and transforming data into a form of ghostly remembrance. E-Sphere (2023) visualizes speculative ecosystems inside spherical forms, using 3D modeling and animation to reflect on how technological systems shape our understanding of environmental change. The work considers the scale and complexity of hyperobjects; phenomena like climate change and plastic waste; rendering them as sculptural simulations that present the entire ecosystem from an external vantage, allowing its elements to be imagined transforming, moving, and forming new forms of symbiosis.

Malware (2023-2025) exists as both a 4K video and a VR 360 version. Sherway Gardens Shopping Centre in Toronto, Canada, is meticulously reconstructed in virtual space. Once-bankrupt retailers and vanished brands haunt its endless corridors, lingering as spectral remnants of late capitalism. The simulation drifts through a decaying architecture of memory and desire, where brand loyalty unravels, signage mutates, and consumer culture loops in an eternal, hollow afterlife.

Dark Crystal (2024) translates these explorations into sculpture, by embedding LED video inside a custom metal, crystal‑like frame. The work functions as an anti‑immersive environment, its fragmented planes, shifting light, and reflective surfaces revealing the mechanics of display technologies.

My recent work, the Webtology series, continues this trajectory. The prismatic collages operate as intimate techno‑paintings built from scanned science‑fiction covers and digital fragments that are cut apart, rebuilt through 3D wireframe modelling and AI‑generated textures, then overlaid with prism film from LCD screens to form a shifting optical surface. These layered compositions compress time, technology, and image history into dense, screen‑like relics that feel both decayed and strangely alive.

Across these works, my practice traces the dynamic interplay between lived social realities and the expanding influence of technological systems. I explore how corporate, environmental, and cultural systems shape the ways we occupy virtual spaces—and how technology can both alienate and empower us. Whether restaging a tennis match or building a simulated ecosystem, I aim to heighten awareness and invite viewers to inhabit a zone where performance meets ecology, where the body becomes technological, and where reality and virtuality intertwine.