Painterbot.com is a site where visitors can take a personality test and "Painterbot" generates a work of art that matches their personality. This can be done from the Painterbot Kiosk or any computer connected to the internet. Visitors are categorized and their data is stored in Painterbot's database.
This piece looks at the merging of psychology and marketing. It reflects on on how psychographic marketing profiles are constructed and how they are mapped back onto the individual.
Contemporary marketing strategies are focused on developing "narrow-cast" marketing tactics that draw upon detailed customer profiles. The means by which these profiles are constructed are often covert, and the ways that they are employed are often unknown to the individual who is targeted. These profiles can influence consumers' purchases, politicians' agendas, employers' hiring decisions, and psychologists' understanding of human beings.

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This series of black and white drawings/paintings are created with a very sculptural approach. "And We Reap" is carved into plaster and the recessed areas are then filled with paint. "Moving History" emerged from a subtractive process; layers of white paint were scraped and sanded away to reveal textured black paint below.

This series of paintings reflects on Late-Modernist principles and the people and technologies that brought these ideas into our lives. These paintings are created by a combination of human, digital, and mechanical processes. The images are constructed by various subtractive and additive methods. In some cases, the image is created using computer software and custom scripts written by the artist in PHP, then etched into painted panels using a laser-cutter. The etched areas are filled with paint of another color and the surface is laborously smoothed with razor blades and sand paper. This process yields a detailed image with distinct readings at the micro and macro levels.

The Atlas of Networks is a series of cyanotype blueprints that explore a diverse range of networks, examining their structures and effects in a broad philosophical sense and a focused technical sense. These diagrams reveal structural similarities in objects or situations that may not be expected. Such connections might stitch together a table, a toggle switch, and a moral argument. This project works across pre-existing taxonomical categories in an attempt to provide an alternative understanding of our evermore-complex world.

The 2200 Series continues my exploration of the networks that define and locate an individual socially, geographically, and otherwise, with a particular focus on the networks that function via digital means. These pieces look to 1960's mainframe computers as the antecedents of our contemporary situation, and explore overlaps with modernist furniture suites which themselves generate and exist within their own network. Each piece functions as a computer, retrieving web-based data about an individual and displaying this information in the piece. With this abstract information grounded in a tangible object, the viewer is able to reflect upon these networks in a new way.

The works in the "Sculpting with Satellites" series began as walks through the artist’s neighborhood. These travels were tracked via global positioning system. The GPS data was then processed through a script written by the artist that plots this data into 3D modeling software, scaling the points within a Cartesian cube. This generated a path through space with a width that is modulated according to the speed at which he was moving. These were then brought out of digital space by a variety of computer aided machining techniques. The series includes sculptural renderings of these paths, created by the artist using a 3D printer. Other sculptures are selections from these paths, chosen as studies, and created as physical objects by milling and laminating. These objects were then resolved in a sculptural manner, employing an aesthetic sensibility that is rooted in a non-linguistic understanding of space, material, and form.

These spaces and translations were further explored in a series of drawings. Images from this process were captured in the 3D software and etched into acrylic using a laser cutter. These etchings were then in-filled with paint to make the images visible.

This is a series of drawings based on skeletal tracking.The artist's movement is captured using a Microsoft Kinect and this skeletal data is plotted into 3D modeling software. Images from these models are then etched into acrylic using a laser cutter and the etched lines are filled with paint to create the image.

The "Parametric Domestics" series employs parametric 3D modeling and digital fabrication techniques to create odd yet familiar objects. This body of work is an exploration of 3D modeling and its impact on the objects that surround us. Some of the sculptures incorporate contemporary domestic objects which are integrated into the work with precisely fabricated connections created with various 3D printing technologies. Other works are small intimate pieces that imply some kind of domestic function.

These drawings are made by etching into acrylic panels with a laser cutter, then filling the etched lines with paint. The images are made in 3D modeling software (Rhino) using a script written by the artist in a plug-in (Grasshopper). The script builds these hexagonal-cell structures based upon gestural movements. The artist's motion is captured with a Microsoft Kinect and fed into the software. After this structure is built in the modeling environment, it is then "pushed" around via physical movement captured by the Kinect. Utilizing a physics engine (Kangaroo) in the software, the structures bend, slide, and collapse in response to the artist's actions. These works are an exploration of patterns that exist in nature, though often at the microscopic level. The hexagonal pattern is similar to the molecular structure of cellulose, which the artist is currently studying in the process of developing a 3D bio-printer. Exploring these forms in a much larger simulated space brings new meaning and vitality to this research.

To be human is to live at the intersection of technological and biological systems. Our first inventions were weapons to protect our bodies and tools to cultivate crops. Today our mobile phones monitor our health and seeds are planted by tractors controlled by GPS and detailed data. We are now at a tipping point, where the boundaries of these systems are blurring. Our knowledge of biology is advancing and being engineered into forms that are accessible to digital computation. We now use computers to find and also design new genes. Just as our cars, clothing, and buildings now exist in CAD (computer-aided design) software before they are fabricated in the physical world, living things can now move from in silico to  in vitro to  in vivo.

We are able to code living things, not as a result of our technical abilities alone, but because nature itself is coded. Complex patterns are written by evolution, over billions of cycles of the seasons. The manner in which nature writes code is fascinating, idiosyncratic, and often quite beautiful. The works in the “arborescent algorithms” explores the relationship between biological code and digital code , by writing programs to "grow" trees. Growth patterns, on the macro scale, were derived from academic research and extensive observation. These patterns were translated into an algorithm embedded in a CAD program. Through the manipulation of multiple inputs, a near-infinite variety of trees can be made, resembling a wide range of different species. These trees are then 3D printed in nylon and displayed as components of digitally fabricated sculptures.