MEDIA
"Feedback Studies"
Digital Paintings, Archive 2025
Series of procedural digital paintings developed during a residency in Manizales, Colombia. The process uses machine analysis of chromatic data through an iterative, feedback-driven process. Drawing from over 6,200 hex codes extracted from personal photographs, spanning graffiti, homes, mountains, and overcast skies of Manizales, collages using these hex codes are constructed and then fed back into the chromatic data analysis, creating a “machine learned” image of nature. This process is not a mere filter, it’s a recursive system that isolates what the algorithm deems the image’s most ‘essential’ traits, progressively stripping away the natural world’s intricacies to reveal only its distilled chromatic core. As these color palettes are extracted and reintegrated into the composition, reanalyzed and reorganized in a loop of feedback, the process gradually transforms the organic origins of the source material into synthetic plastified imagery. It asks not what machines can imagine for us, but what they do to the natural world when asked to interpret and reimagine it, often flattening nuance into flat and plastic.
SOUND
“Bisexual Lighting” 2025 is a Montreal Hyperpop / Industrial Hip hop Trio consisting of TATO, ARIA VEIL and ARKIL
“HYPERPHANTASIA” 2025 is the result of two years of modular synthesis experimentation, research, and immersive listening practice, which explores the blurred edge between memory, imagination, and reality. It is titled after a condition of the same name, where mental images appear with vivid, sometimes unbearable clarity. Each piece in this album is a sonic translation of these images: visions of ecological collapse, war, memory fragments, and surreal inner landscapes, made audible through sound design.
“Concord” 2024 is a Ballet Performed in 2024 at White Wall Studio with James Stinchcombe (Flute) and Marina Elizabeth Gris (Dance, Choreography).
“Weathered Technophilia” 2023 is a guided improvisation that explores resilience and fragility in our relationship with technology. The orchestra is divided into four sound-worlds—Technology, Nature, Warm and Cold and performers respond to moving points on a Cartesian plane where distance from the center controls loudness and quadrant controls timbre.