I'm a firm believer that my sacred geometry work is channeled from something much larger than my own inner world. When I tap into the right flow state, it often feels like I’m being used as a conduit. Before I start a piece, I usually have a focal point planned, but after that’s down and I’m in the right headspace, the rest flows through me. It’s like every symbol, spiral, or labyrinth already has a place. It’s not always my idea, but when something lands in the right spot, I just know that’s where it goes. It feels like I’m piecing together a puzzle that exists in another dimension.

There’s something ancient and collective about it. That’s why I include so many temple-like structures in my work. I often get goosebumps, bursts of energy, or waves of emotion while painting. I’ll say though, this feeling of channeling didn’t happen from the start. It’s something I had to grow into and learn how to access as my style developed. Honestly, it feels like this style found me. Learning about sacred geometry is what pushed me to start painting in the first place, and it’s felt like a calling ever since.

My two styles represent two stages I experience during a psychedelic journey. My optical art reflects the beginning, when everything is just starting to hit. These pieces are portals into that part of the experience. Reality feels disorienting and chaotic. Objects that were once still start to wiggle and shift. That’s usually when the thought hits me that this whole reality might be an illusion. That’s the feeling I try to capture in my optical work, and the colors reflect that intensity.

Later on, things start to calm down, and that’s where sacred geometry comes in. I feel this wave of clarity and a deep sense of knowing that everything has its place in the universe—even me. The order of it all becomes undeniable. That’s what I want to show in my geometry work. Everything is precise, intentional, and that brings a sense of relief and calm. I keep the palette simple for that reason. Black represents the vastness of the universe. White is purity. Gold is the alchemy, the magic, we feel in those moments.

Color is one of the most important parts of my work because each one carries its own emotion, and my goal is to awaken those emotions in the viewer.

Sacred geometry is something really special and universal. Everything around us uses geometry in some way. You see it in architecture, in technology and its devices, and all through nature—in leaves, flowers, beehives. Geometry is organic. I think people can feel that, even if they can’t explain it in words.

Metatron’s Cube is one of my favorite sacred geometry forms because it holds so many others within it. I find it fascinating that just 13 circles can contain such complex forms, and it’s so satisfying to see all the points connect. It feels like it taps into something bigger than us, and I think viewers can feel that too.

As for my references to Timewave and the Emerald Tablet, I’m fascinated by big thinkers and ideas, like Terence McKenna, which is where the Timewave reference comes from. I like honoring people like him by naming pieces after the ideas they introduced. The Emerald Tablet is another one of those. “As above, so below” is a concept I really believe in, and I wanted to highlight that in my work.

At the end of the day, I want to encourage viewers to daydream on these ideas. Even if they don’t fully subscribe to them, I think it’s healthy for the brain to play with big concepts like that.