Thresholds of Perception
The Collection
Hovering between the seen and sensed.
Thresholds of Perception
the Collection
Hovering between
the seen and sensed
There is a quality to this work that exists beyond intention — images that exist at the outermost edge of what the eye can confirm, where form begins to dissolve and something else takes its place. A different kind of clarity, available only to those willing to look past the surface of what is presented and ask what else might be there.
Thresholds of Perception is that inquiry made visible. Sacred spaces in Colombia where light and faith converge into something electric. Abstract streets where the figure becomes pure presence and the city reveals itself as energy rather than architecture. The ocean's surface alive with a current that was always there, now rendered in light. Buenos Aires seen from the other side of perception — familiar and entirely displaced simultaneously.
Each series within this collection occupies its own threshold — its own specific edge between what is and what is sensed, what was and what remains. The images do not resolve into certainty. They open toward it.
Each work exists in a strictly limited edition. Once closed, it does not reopen.
Momentum Deferred
The Series
The crossing begins here.
There is a quality to this work that exists beyond intention — images at the outermost edge of what the eye can confirm, where form dissolves and something else takes its place. A different kind of clarity, available only to those willing to look past the surface and ask what else might be there.
Sacred spaces, abstract streets, light alive on water, a city seen from the other side of perception. Each series occupies its own threshold between what is and what is sensed, what was and what remains.
Each work exists in a strictly limited edition. Once closed, it does not reopen.
Momentum Deferred
The Series
The crossing begins here.
Same street. Same light. Four seconds apart. Momentum Deferred and Ghost Frequency trace the full arc of the Shapeshifter process — from biokinesis to the deepest reaches of the Liminal State.
Together they pose a single question: has the Integration begun?
Same street. Same light. Four seconds apart. Momentum Deferred and Ghost Frequency trace the full arc of the Shapeshifter process — from biokinesis to the deepest reaches of the Liminal State.
Together they pose a single question: has the Integration begun?
Vespers
The series
Calm. Infinite. Devout.
Vespers
The Series
Calm. Infinite. Devout.
Hours underground in the Salt Cathedral of Zipaquirá, the halite absorbs sound the way memory absorbs grief — gradually, completely, until what remains is a particular quality of silence. The air is heavy. The blue light is deliberate. After long enough in those tunnels, the boundary between the sacred and the surreal begins to dissolve. Vespers was made in that dissolution — these specific works held together by their blue, by their stillness, by the sensation of something infinitely patient waiting just beyond the edge of form.
Hours underground in the Salt Cathedral of Zipaquirá, the halite absorbs sound the way memory absorbs grief — gradually, completely, until what remains is a particular quality of silence. The air is heavy. The blue light is deliberate. After long enough in those tunnels, the boundary between the sacred and the surreal begins to dissolve. Vespers was made in that dissolution — these specific works held together by their blue, by their stillness, by the sensation of something infinitely patient waiting just beyond the edge of form.
THE ZIPAQUIRÁ SUITE
SERIES
Descended into halite. Came back with this.
Deep beneath a Colombian mountain, carved from two hundred million years of ancient halite — part pilgrimage site, part geological wonder, part labyrinth. Salt dust in the lungs. Something quietly recalibrating.
THE ZIPAQUIRÁ SUITE SERIES
Descended into halite. Came back with this.
Deep beneath a Colombian mountain, carved from two hundred million years of ancient halite — part pilgrimage site, part geological wonder, part labyrinth. Salt dust in the lungs. Something quietly recalibrating.
Watcher in the cathedral
the series
No sanctuary from surveillance.
A group of friends, moving through the tunnels of the Salt Cathedral of Zipaquirá — talking, exploring, absorbed in the ancient and the extraordinary. And then, up ahead, a figure. Still. Watching. Inside the Salt Cathedral of Zipaquirá, light drifts and folds — selective revelation against ancient stone — colors bleeding and blending where light meets shadow, like watercolor applied with a stiff brush. Even here, two hundred million years underground, carved from halite older than memory —
no sanctuary from surveillance.
Watcher in the Cathedral
The Series
No sanctuary from surveillance.
A group of friends, moving through the tunnels of the Salt Cathedral of Zipaquirá — talking, exploring, absorbed in the ancient and the extraordinary. And then, up ahead, a figure. Still. Watching. Inside the Salt Cathedral of Zipaquirá, light drifts and folds — selective revelation against ancient stone — colors bleeding and blending where light meets shadow, like watercolor applied with a stiff brush. Even here, two hundred million years underground, carved from halite older than memory — no sanctuary from surveillance.
The Other side
The Series
Every decision. A parallel path.
The Other Side
The Series
Every decision. A parallel path.
Buenos Aires at dusk — storefront glow, shifting light, pedestrians moving through the frame. Through long exposure and deliberate in-camera movement, figures begin to overlap and flicker, bodies stretching and dissolving as if briefly occupying multiple positions in time simultaneously. The series takes its name from the television series Fringe — not as reference, but as recognition. That parallel realities exist. That every decision places us on a slightly different trajectory. That the layers occasionally surface and become, for an instant, visible. These images are that instant. The city as threshold. The street as the other side.
Buenos Aires at dusk — storefront glow, shifting light, pedestrians moving through the frame. Through long exposure and deliberate in-camera movement, figures begin to overlap and flicker, bodies stretching and dissolving as if briefly occupying multiple positions in time simultaneously. The series takes its name from the television series Fringe — not as reference, but as recognition. That parallel realities exist. That every decision places us on a slightly different trajectory. That the layers occasionally surface and become, for an instant, visible. These images are that instant. The city as threshold. The street as the other side.
Living Current
The Series
Bioluminescent
Living Current
The Series
Bioluminescent.
At the Dana Point marina, sailboats moved in the tide — tethered but alive, ghostly in the dark, their reflections fracturing across the water's surface. At the Monterey Aquarium, a glass sculpture rendered the North Pacific Gyre in spiraling form — vast ocean current made suddenly, viscerally legible. On Diagonal Norte, Buenos Aires, shooting directly into the sun — the street dissolving into pure electrical charge, silhouettes suspended within it. Living Current is my interpretation of these encounters — and of the energy that moves throughout. It has always been there. This is what it looks like.
At the Dana Point marina, sailboats moved in the tide — tethered but alive, ghostly in the dark, their reflections fracturing across the water's surface. At the Monterey Aquarium, a glass sculpture rendered the North Pacific Gyre in spiraling form — vast ocean current made suddenly, viscerally legible. On Diagonal Norte, Buenos Aires, shooting directly into the sun — the street dissolving into pure electrical charge, silhouettes suspended within it. Living Current is my interpretation of these encounters — and of the energy that moves throughout. It has always been there. This is what it looks like.
At the Dana Point marina, sailboats moved in the tide — tethered but alive, ghostly in the dark, their reflections fracturing across the water's surface. At the Monterey Aquarium, a glass sculpture rendered the North Pacific Gyre in spiraling form — vast ocean current made suddenly, viscerally legible. Living Current is my interpretation of both encounters. The energy that moves beneath, around, and through — the force that has always been there, now rendered in light.
BY INVITATION
Early access. First to see. First to own.
Your email stays private. No sharing. Ever.
BY INVITATION
Early access.
First to see.
First to own.
Your email stays private. No sharing. Ever.