Field artist

 As an interdisciplinary artist-researcher and Field Artist, after 30 years of continuous production, I work both "in-the-field" as a sensory data logger and within my studio-laboratory, The Historiotheque. In the field, I conduct soundwalks and deep environmental observation—capturing audio recordings, photographs, videos, and meticulous textual field notes. When I return to the studio, I apply a systemic, non-linear approach to transform these raw observations into integrated intermedia, translating temporal environmental data into physical and auditory artifacts.

I am a third-generation professional painter, having begun in childhood under a rich artistic lineage and never stopping the practice of my craft. In my teens, I expanded into the digital realm, writing and recording avant-garde music, which later led to a degree in Computer-Assisted Sound Design. Parallel to image and sound, writing has remained a lifelong engine of my practice; I compose across genres, translating visual and sonic research into speculative poetic prose, meta-historical essays, and philosophical inquiries.

Ultimately, I see my role as an active World-Watcher and systems tracker. I look at the dynamic structures of the world around me and interpret them through a rigorous aesthetic framework, treating the creative workspace itself as an evolving, thermodynamic surface. I often say, "This isn't about me," meaning that the true core of the work lies in the system being observed, not the individual documenting it. My goal is to activate the thirty-year archive of my work so that viewers can engage with these micro-histories and, perhaps, begin to perceive the systemic beauty of the world a little differently.

My methodology is the methodology of Art Operations. Everything is set up as a manufacturing operation, using a basic continuous flow process. The Art Operation, ArtOps for short, takes in raw materials and other inputs, "operates" on them through an elaborate refining process, and produces "outputs", i.e. art productions, cultural artifacts, etc.

I work in my art studio for which I have given the name, The Historiothèque. It is a modular workspace, with "variable geometry", as they say. That is, it is a workspace that I can use to do anything I want, designed to be modular, i.e. it can and does function as a recording studio, as an art studio, as an office and "Art Operations Control Center". It also includes and functions as an Archive which is integral to the whole process.