The Artist6 Statement
I make contemporary work in the tradition of Renaissance technique. The work uses AI image-generation systems the way a filmmaker uses a camera, or a photographer uses a printer. I direct, iterate, reject, rebuild, and select.
Nothing arrives by accident. Each released piece is the result of dozens to hundreds of directions held over hours or weeks, hand-finished, hand-selected, and printed on archival paper before it leaves the studio.
I came to this practice through long looking. Years of standing in front of Caravaggios, Bronzinos, La Tours, Zurbaráns, Vermeers, El Grecos. Not as a student copying technique, but as someone trying to understand what the masters had figured out about human attention and the body.
A single low light source. A face that turns three-quarters into the dark. Hands holding an object as if the object mattered. A palette of bronze, umber, ochre, oxblood, lapis, gold.
Compositions built on triangles that the eye finds before the mind catches up. These are not mannerisms. They are working tools, refined for centuries by people who had no equivalent technology, and they continue to work because the human face still wants to be looked at this way.
The studio publishes its process. The tools change; the discipline does not. I do not reproduce historical paintings. I do not claim to be a master. I work in the lineage of, not in imitation of.
The studio releases work in chapters. Each chapter sits inside a single universe, with a single register, and develops over months. Editions are small, signed, numbered, sealed, registered publicly, and never reprinted. When an edition closes, it closes.