Video games have been my lifelong companions, shaping both who I am and how I create. FromSoftware's worlds in particular rewired my artistic DNA—Dark Souls' unforgiving beauty, Bloodborne's Victorian horror, and Sekiro's architectural grandeur each pushed me to see game environments as something more than just backdrops.

For seven years I've worked in 3D art. My journey with Blender has been a rocky romance—discovering it in middle school, abandoning it out of frustration, then returning with renewed determination in high school. This stop-start path taught me that technical skills worth having rarely come easily.

What drives me is creating work that resonates—first with myself, then with others. I've explored countless styles, from cell-shaded to photorealistic, each teaching me something new about my capabilities. Studio Ghibli's ability to evoke nostalgia for places that never existed continues to influence my approach to digital art. One recent untitled piece emerged from experimenting with paint-stroke tools over 3D models—a visual conversation between technique and intuition.

My creative sweet spots are early mornings and late nights, when the world quiets and imagination speaks louder. "Nuclear," a post-apocalyptic power plant scene I assembled in six hours during a middle-of-the-night creative burst, reminds me why I do this work. I built it using 3D scanned assets and basic texturing, but there's something honest about work made in those liminal hours.

I'm here to build worlds worth exploring, and I'm looking for clients who appreciate both technical skill and that spark of late-night inspiration. Every finished piece reminds me why I love what I do—and I hope it shows.