"I want what I want and I'm not content with what I am given and what I am allowed to have."

If I scroll down on the MJ Explore page and I see anything that resembles what I am doing or what I am working on, I stop doing it, reassess and probably won't be doing that anymore. Luckily, that doesn't happen very often.

For those who wonder why I produce the kinds of images and choose the stylistic directions that I do, this is my answer. It applies only to me, not to anyone else. I make no claim that it should apply to others, nor do I presume to evaluate their motivations. I can only speak to my own.

For me, progress is not possible without first understanding what artists in the past were able to do—and why they did it—at least to a level that satisfies my own needs for understanding. For me, moving forward requires a grasp of the formal, conceptual, and historical problems that preceded me. Advancement, in my view, is contingent upon comprehension.

AI functions as an ideal vehicle for this self-directed, highly concentrated art education. It contains within it the accumulated visual languages, styles, movements, and conventions of art history, having been trained on them. The central question, for me, has always been how to access that inheritance with intention rather than passivity.

Artistic authorship does not reside in the mere physical execution of marks, but in the exercise of judgment: deciding which marks are made, which are withheld, and which are allowed to persist.

I am a professional land surveyor, draftsman, and visual artist working primarily in digital mixed media, exploring the evolving space between tradition and innovation. My work is not designed to reassure. It may confuse AI art audiences, unsettle decorative collectors, irritate purists, frustrate technologists, and alienate casual viewers. At the same time, it is intended to reward sustained attention—to linger with the right viewers, provoke prolonged engagement, demand interpretation rather than provide it, and resist algorithmic flattening.

My practice spans abstraction, figuration, symbolism, and conceptual collage, often carrying layered meaning, emotional density, and cultural commentary. I approach art as a daily discipline, devoting substantial time to production, experimentation, and refinement.

This semi-public, selectively presented portion of the archive comprises over 6,000 works. The artist’s complete oeuvre is estimated to encompass approximately 30,000–70,000 pieces. The publicly viewable material generally reflects recent series and current lines of inquiry. Curators, galleries, and collectors interested in accessing additional selections or curated groupings are invited to make direct contact.

Thank you for viewing my work.