To this day I have always adored video games. Ever since pong was released in the U.S.

Granted I am more of a single player narrative driven gamer now. Anyway, I never was compelled to become a 3D character artist, or ever wanted to work for a company that made games. I was however always drawn in by the artwork on the game packaging (obviously before 3D art was a thing). And while playing those countless games, used my imagination to picture the characters that were on those covers, in the actual pixilated games I was playing. When the graphics got better (when 3D became a thing) my fascination grew. And, when those graphics got to be as good as the artwork on the game covers, my fascination became an exciting hobby. For me, creating characters with 3D software is almost like I am back in my youth. Imagining the “what if”. I don’t have to spend weeks creating a single “what if” character on a canvas or a tablet. I can essentially sit at a laptop and manifest my creations in hours for a make-believe game that is in my head. And the best part. I can move these characters around and portray them in an almost endless array of positions and situations. Simply put, it is my “what if” on tap.

It’s not something I choose to make money at though. This outlet of creative expression is just for my own amusement. And the fact that I brought up gaming at all, is that I was playing a game when the idea of this hobby grabbed hold of me.

So here is my wax-rapsodic take on this CGI industry…

3D rendering is the synthetic conjuration of form, light, texture, and atmosphere within a wholly constructed spatial illusion. It is not merely depiction, but the meticulous orchestration of volume, surface, perspective, and luminance into an image that simulates presence with almost alchemical precision. At its most sophisticated, it is a discipline of pictorial fabrication and virtual verisimilitude.

Basically, it is photography/videography for stuff that does not exist yet. You know, when a creative mind wants to play God from a cave to make amazing movies, and video games… and almost anything else. Minus the broad animation aspect of it.

The singularities shown on this page are approached as an accumulation of suspended impressions rather than a continuous narrative, a presence constructed through fragments that suggest inquiry instead of resolution, where identity is neither fixed nor passively observed but actively arranged, tested, and reconsidered. What emerges is a deliberate examination of self as a malleable construct, shaped by shifting contexts, implied roles, and the tension between authenticity and performance, with each iteration resisting permanence in favor of ambiguity. The surrounding world functions less as a setting and more as a variable, alternately obscuring and revealing, distorting and clarifying, so that the subject becomes inseparable from the conditions that define perception. Surface, gesture, and orientation operate as primary language, displacing conventional chronography in favor of suggestion, where meaning is inferred rather than declared. Time, should be understood as a layered presence, where contradictions are preserved rather than resolved, allowing multiple versions of the figure to coexist without hierarchy. The result is an evolving record that refuses definitive interpretation, positioning the egos not as stable entities to be understood, but as an ongoing exploration shaped by intention, perception, and the quiet instability of being seen.

Just ladies being amazing.