The 12 Rules for Life, written by Jordan Peterson, illustrated using the words of the rules as pattern matches and extenders. Words translate into images. Photographs of my latest work become a layer influencing the image.
A new field of digital art is stretching the boundaries of creativity and disrupting how art is made. Artists build autonomous robots to collaborate, feed algorithms with data, and train machines to generate novel visual works. They work with computer programs that mimic the human mind to generate a never-ending stream of unique artworks. Artificial intelligence has emerged as a desirable collaborator in artistic creation.https://magazine.artland.com/ai-art/
I create two versions of media for the 12 Rules for Life. A movie clip and a downloadable PDF. The rules are simple, and the images are unique. I am working on new series using the 9 Plagues in Egypt, the 10 Commandments, and the 7 Deadly Sins are up next.
My Work and Aesthetic
My work examines the behavior of light and color within darkness, and the forms and symbolism that emerge from that encounter. Translucent pieces, cast in resin and rare earth minerals, capture light, bend it, and return it. These materials absorb illumination and re-emit it, so the surface does not remain static. As color recedes, the form appears to shift and breathe until only light remains. The darkness is not a backdrop but the condition that makes this return visible: light altered by the work, then given back to the field that defines it. In that exchange, form becomes symbol—the visible trace of light held, bent, and released.
These sculptures are not static objects. Color is used to set a mood, drawn from color theory and applied through the material itself. The latest series is cast from botanical molds in a strong palette of rare earth elements. Their response to light and to the visible spectrum makes bold color possible, not as surface decoration but as something held inside the form. The result is a luminosity that moves past the physical fact of the sculpture and toward the spiritual.
The work luminesces in the dark, drawing on the stored light of rare earth elements. What appears is not only a glow but an evocation—something that meets a spiritual instinct already present in the viewer. My hope is that the sculpture will register at that level: a visual experience that opens onto a quieter, more inward passage, each piece lit from within by the material and by the act of looking.
