In 2007, I created a pixelated, three-dimensional painting based on an image of a person to explore the idea of a hybrid entity—one that blends digital structure with human essence.

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The resulting work, which fused painting with sculptural elements, eventually evolved into a series I named HYBRIDS—a title that reflects both the medium and its metaphorical symbolism.

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Viewed up close, the piece appears as an abstract composition made of cubic forms at varying heights—functioning as three-dimensional “pixels.” In some cases, these cubes take the shape of flowers or other organic motifs, adding interpretive depth. From a distance—or through a peephole or camera—the fragmented structure resolves into a recognizable portrait.

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This interplay between abstraction and figuration invites an interactive experience, merging optical illusion with layered symbolism. It blurs the boundary between perception and recognition, challenging the viewer to reconsider the nature of identity and form.

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Creating this early work sparked an enduring interest in using digital tools to examine how technology shapes human identity and evolution.

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Over the years, I’ve continued experimenting with media including digital collage, video, and more recently, generative AI—while still taking commissions for HYBRID Paintings, which remain a deeply rewarding part of my practice.