Artist Commissions

Designer and Engineer

Fabricator and Programer

In January 2026, I was commissioned by artist Rabi Towing to engineer and build the primary visual centerpiece for his exhibition, We Buy Souls. The project demanded the fabrication of a massive, 9-foot-tall cross completely enveloped in custom LED screens. Bringing this ambitious installation to life involved navigating several complex technical hurdles. To achieve a seamless visual experience, I had to execute precise 3D mapping across the many intersecting surfaces of the cross, ensuring the video content wrapped flawlessly around the entire geometric structure. The hardware itself required meticulous electrical engineering to safely manage power distribution across such a large array of high-draw LED panels. Perhaps the most critical engineering challenge was thermal management. Because the design called for a completely sealed enclosure to maintain its sleek aesthetic, I had to develop a robust internal solution to dissipate the massive amount of heat generated by the screens. The final result was a highly durable, visually arresting installation that blended my background in technical fabrication with striking contemporary art.

Lead Fabricator & Technical Engineer

I was thrilled to be commissioned for my second collaboration with artist Lars Bergquist. For this exhibition, Lars needed a series of high-quality, hyper-realistic brick models that discreetly housed long-lasting audio systems capable of coordinating synchronized soundscapes across multiple units. To achieve an authentic aesthetic, I began by using 3D photogrammetry to scan an approved physical brick. From that digital map, I engineered and 3D-printed a custom replica featuring a precisely modeled hollow interior and a beveled lid designed to snap seamlessly into place, hiding the technology within. I outfitted the inside of each brick with an ESP32 audio development board, a 3-inch speaker, and a robust battery and charge management system to ensure the installation could run continuously throughout the exhibition. The intelligence of the piece relied on a custom software architecture I developed for the ESP32 microcontrollers. I designated one primary brick as the "coordinator", while it played its own local audio effects, it simultaneously communicated with the rest of the network to trigger and sync their respective audio files, creating a deeply immersive environment. I deeply loved working on this project because it perfectly bridged two of my creative passions. As drawn as I am to complex technology and programming, I have a profound appreciation for natural, grounding objects. Engineering an object seemingly at rest to unexpectedly come alive, concealing its technical capabilities until the moment it engages the viewer, was an incredibly rewarding process.

Lead Fabricator & Technical Engineer

For my first project with artist Lars Bergquist, he approached me with an incredibly unique concept: a life-sized painting of a coyote mounted high atop a Los Angeles billboard. The artistic twist—and where my technical engineering came in—was creating an entirely off-grid system that could track approaching pedestrians and trigger field recordings of coyote howls from a speaker hidden behind the painting. To pull this off under harsh outdoor conditions, I built a custom waterproof enclosure paired with a 25-watt solar panel to power the rig sustainably. Late one night, Lars and I scaled the billboard ourselves to mount the coyote and install the system. The core tracking intelligence relied on a Raspberry Pi connected to an IR night-vision camera. I wrote custom software utilizing OpenCV to process the live video feed and detect when a person was walking toward the billboard. If the system detected an approaching pedestrian within our set operational window—active between 8:00 AM and 11:00 PM—it would trigger a 3-minute playback loop. The audio itself was a collection of actual coyote howls that Lars had recorded just a few hundred meters away the previous year. Lars has a deep connection to the city of Los Angeles and all of its inhabitants, especially the local coyote population. This project was profoundly rewarding to execute because it played perfectly into the theme of static objects unexpectedly coming alive. It served as a powerful acoustic reminder that the urban landscape is alive around us in ways we don't always expect, prompting us to notice the auditory signs of wildlife long before we can visually observe them.