From Algorithms to Matter
For years, my world was defined by market dynamics and the search for an edge. I analyzed patterns to predict the future.
Today, I translate that need for precision into photographic chemistry. My “code” is now composed of ammonium ferric citrate, potassium ferricyanide, and gold. My laboratory is dark; my data is liquid.
I use light, iron, and mineral surfaces to capture what is lost in digital noise: permanence and tactile depth. As a photographic artist, I create strictly non-reproducible works. Every piece follows a rigorous protocol—from manual emulsion coating to the physical manifestation of the digital negative through UV radiation. It is a transition from high-frequency abstraction to the slow, deliberate chemistry of light.
In trading, everything has an expiration date. In my studio, I aim for the opposite. I take the artifacts of our built environment—ceramic tiles and industrial debris—and subject them to controlled destruction and repair with 24k gold. There are no prints; there is only the unique object. I no longer predict market trends; I fix the impact of capital onto matter, moving from managing expiring assets to creating immortal ones.
Current Status: Portfolio development: ‘Money and Society’. No public previews or sales planned for 2026. Fixing value into Prussian Blue and 24k gold.
Contact: LinkedIn