My still life work explores the universality of biology by drawing parallels between insect anatomy and various types of flora as well as questioning the possibility of organic forms outside our planet. My self–portraits examine the fraught relationship between this seemingly interconnected natural world and our increasingly detached state of life.
I first became aware of the morphological similarities between different species of plants and insects while studying vintage botanical charts and early scientific illustrations of the Renaissance. Admiring their organic outlines, I started translating these flat shapes into three–dimensional digital sculptures: a frog’s cranial nerve resembling a blossoming stem, a moth’s sensory system parodying a fern, a honey queen bee’s reproductive organs flowering atop a windowsill like a potted plant. These shapes transmogrify to emphasize unity of all biotic matter.
My series Terraria asks questions about life beyond our planet. Is biological form truly universal? Would organisms on Mars, Titan, Europa follow the same cellular blueprint and evolutionary path as they do on Earth? Does all life share a common origin? Utilizing NASA’s specialized images that combine elevation data with surface topography, I digitally recreate landscapes from the planets and moons of our solar system. By placing these distant terrains on the windowsill of my studio, I think about the flora and fauna we’ve yet to observe.
Like so many artists before me, I turn to the plant and animal kingdoms to understand my own place and function within the ecosystem. I started making self–portraits as way to reconcile the differences between my observations of the natural world and the current fragmented state of our environment. By arranging models of critters and floral anatomy around my body, I seek for a new meaning between modern man and his habitat.