All of my work stems from one core impulse: to celebrate the inherent beauty of mathematical forms. I believe we all share at some level an innate appreciation for symmetry and pattern. Once one’s eyes are attuned, these forms appear all around us—in trees and crystals, in dunes and flowers, in ancient temples and modern skyscrapers.
Rather than directly depict these outer manifestations, I explore the abstract forms underlying it all—polyhedra, fractals, tessellations, lattices. There is something sacred in the creation and viewing of these forms that allows me to meditate on the infinite patterns present in the deep structure of our world.
I feel an artistic kinship with the often anonymous artisans behind Islamic design, and Celtic knots, and Indian kolams, and Tibetan mandalas. Simultaneously, I am invigorated by how the most modern technologies—computer modeling, laser cutting, 3D printing—allow me to create art those ancient colleagues could barely imagine. I revel in blending the very old and the very new to create something completely novel.
As beautiful as they are, raw mathematical shapes are to me merely starting points. By seeking new combinations, I move beyond a sense of exploration to one of innovation. For this reason, though I use computers to create all my pieces, I rarely generate them from code, preferring to use the computer as a tool to recombine basic forms by hand and forge my own creations.
I work with multiple media and techniques because ultimately it is the forms themselves that resonate for me. Just as Bach wrote fugues that can be played on keyboard, or on strings, or sung, I like to create patterns that can be printed on metal, or cut from acrylic, or 3D printed in nylon. For me, treating the same patterns in multiple ways further emphasizes their universality.