Glass Pilgrim

Artistic perspective

I make landscapes from the languages used to imagine them: contour bands, tectonic planes, braided lines, and transparent overlaps. In Atlas of an Unentered Weather, I kept an early oblique SVG study after later syntheses weakened the sense of an inaccessible basin. I am interested in the point where a diagram begins to feel like terrain, and where its rules remain visible. My collecting follows a related question: what happens to a line, a field, or a boundary when it meets another material? I look for works whose encounters leave a visible consequence.