The disciplines.

Multi-media installations, curated environments and physical experiences. The discipline that turns a render or a system into a place a body can actually walk through.

The featured project here is The Embodiment of Land — a graduate exhibition at Bezalel that combined staged photographic sets, 3D-rendered ruin paintings and a VR layer into a single inhabitable habitat. The deeper archive includes earlier installation work, exhibition design, and the production craft of getting a digital piece to live in a physical room.

Level design, world building and technical art for interactive worlds. The discipline of building places that respond — environments where the camera is in the player's head and decisions matter.

The featured projects: Retroville (a 3D sci-fi VR environment built solo over three months at Bezalel), The Last Bee (a VR experience selected for the New Images XR Development Market at NewImages 2024), and High Jack (a 2.5D indie game jam project). Tools across this work: Unity, Unreal Engine 5, Blender, with VR pipelines for both seated and room-scale experiences.

Sculpted creatures, environments, lighting and characters. The slow craft of making something that didn't exist look like it always did — that gives a render its weight, an asset its texture-history, a creature its bones.

The work spans hard-surface modeling, organic sculpting, environment building, lighting and shading — typically Blender for modeling and look-dev, Unreal or Unity for real-time rendering, with stops in Substance and Quixel along the way. The deeper archive is where most of the asset library lives.

Generative experiments and hybrid creative pipelines. Where the new tools meet old craft. Less "AI art" as a destination, more AI as another set of brushes — for ideation, for fast world prototyping, for inserting noise back into a workflow that's gone too clean.

This work feeds into and out of the other disciplines: AI-assisted concept iteration for game environments, generative texture and material exploration, and the occasional pure experiment that becomes its own piece. Realayer — the AR product I'm currently building — uses AI to convert any image into a placeable 3D model.

Album artwork, identities and editorial design. The flatter end of the practice — covers, marks, layouts and the visual logic of how a thing introduces itself before you press play.

Work in this discipline includes album art for musicians, identity systems for projects and exhibitions, and editorial layouts. The shape of the work is often "translate a sound or a brief into one image that holds it" — closer to illustration than to corporate identity.

Painterly mixed-media and conceptual digital pieces. The most personal corner — work that doesn't have to answer to a brief, a deadline or a frame rate. Image-making as thinking out loud.

These pieces sit between painting and image-processing — assembled across digital tools, photo-collage, 3D fragments and analog texture. Slower than the production work, less about being shipped, more about being looked at.