The Geometry of Becoming

The Function Behind the Form

This is not a biography.
This is the geometry that makes me.
My work is not built—it unfolds.
Not through will, but through ratios.
Not through discipline, but through recursion.

If you want to understand what guides my composition,
look not at the works, but at the structure beneath them.

CORE CONCEPTS

The Torus


My creative field does not expand linearly. It folds inward, generating movement through return. The torus is a geometry of continual regeneration—a topology of breath. Energy is not lost, but recirculated. The center is not an origin, but a process. This is how my work renews itself: not by accumulation, but by recursive return. The self, too, is folded. Awareness is a movement that spirals back to its own source.

The Rhizome


There is no center, no top, no root hierarchy. My artistic system grows laterally, in multiplicities. Each node—sound, scent, image, form—is not a branch but a pulse in a larger field. Like mycelium, the rhizome expands underground. It is hidden structure, alive with connection. The rhizome doesn’t evolve upward—it intensifies outward. There is no single origin story, only unfolding points of emergence.

The Golden Ratio


In my work, expansion follows proportion—not plan. Growth emerges in relation to what came before, not from external aim. The golden ratio is not a symbol of perfection, but of coherence. It marks the place where structure and intuition meet. I trust this spiral logic—how each part arises in harmony with the last. This is why my practice feels inevitable. It’s not imposed. It’s proportioned.

The Fractal


Fractality is the echo of the whole in the part. Whether it’s a large-scale composition or the gesture of a ceramic line, the same perceptual logic reverberates across scales. The micro contains the macro. This is not repetition—it’s iteration with difference. Each field in my practice reflects the others, not through mimicry, but through resonance. You’ll find the same movement in a scent, a silence, a sonic motif. Because they arise from the same equation.

The Function


A(x) = f(P(t), C, R, Δ)


Artistic output is not static—it’s responsive.
What I create is always a function of four living variables:

  • P(t) – Perception in time. How I sense and experience unfolds moment by moment.

  • C – Consciousness. Not as mind, but as field. The root intelligence through which all perception passes.

  • R – Resonance. The dialogue between inner state and external form. What hums in alignment.

  • Δ – Transformation. The only constant. The shift that occurs simply by being present with what is.

This is the architecture that animates my disciplines.
Every piece of music, every scent, every form—
is not just an expression,
but a result.

Not a conclusion,
but a visible trace of an invisible system.

DIVE DEEPER

SONIC

S(x) = f(R(t), C, Φ, Λ)

Where:

  • S(x) = Sonic form at time x

  • R(t) = Resonant perception over time (temporal sensing of space)

  • C = Consciousness (as field-root)

  • Φ = Harmonic structure (frequency relationships, intervals, ratios)

  • Λ = Listening intelligence (how silence, attention, and energetic tone shape the music)

Interpretation:
My sonic work is the result of how time is perceived and shaped through resonance, guided by harmonic law and the deeper intelligence of listening. The music doesn’t arise from melody—it emerges from the perceptual mathematics of presence.

Visual 

V(x, y) = f(L, C, Θ, Δ)

Where:

  • V(x, y) = Visual expression across space

  • L = Light as structural form (photons, shadow, reflection)

  • C = Consciousness (as perceptual axis)

  • Θ = Geometric encoding (sacred proportion, spatial mapping, grid logic)

  • Δ = Transformation through gaze or gesture

Interpretation:
My visual work emerges not from aesthetic composition alone, but through the interaction of light, spatial memory, and geometric consciousness. The viewer’s eye activates transformation—not by decoding an image, but by entering a field.

OLFACTORY

O(s) = f(M, C, E, T)

Where:

  • O(s) = Olfactory event at moment s

  • M = Molecular layering (structure of scent materials)

  • C = Consciousness (as anchor for olfactory meaning)

  • E = Emotional trace (memory encoded in scent)

  • T = Temporal unfolding (drydown, decay, sillage curve)

Interpretation:
My scent compositions are not just fragrances—they are temporal architectures. The smell is shaped by molecular math, but carries emotional memory across time. I sculpt with volatility and remembrance.

MATERIAL

M(z) = f(G, C, ρ, τ)

Where:

  • M(z) = Material expression in sculptural space

  • G = Gestural imprint (hand movement, bodily rhythm)

  • C = Consciousness (infused through presence)

  • ρ = Density or mass (how matter resists or yields)

  • τ = Time-pressure transformation (kiln, drying, tension)

Interpretation:
Ceramics in my world are not static—they are crystallized moments of spatial rhythm. The form is born through pressure, timing, heat, and gestural logic. I sculpt with earth, but move through it like sound.

Executing the Transdisciplinary Flow

A_d(x) = f(F₁, F₂, F₃, ..., Fₙ)


Each field is a chamber. Together they are the structure.

F₁ → Sonic Art

Time unfolds as vibration.
This is the architectural pulse of my work.
Sonic frequencies set the rhythm of the whole field—they sculpt time, guide movement, and shape emotional tension.

Sound is not support. Sound is structure.
Everything else moves to its breath.

F₂ → Visual Art

Light enters next.
Visual structures encode rhythm into form.
Image is not illustrative—it’s spatial memory.

The geometry of the sound becomes a color, a shape, a gesture.
The eye catches what the ear heard first.

Visual art translates temporal flow into spatial stillness.
It’s the echo of movement held in matter.

F₃ → Olfactory Art

Now the unseen.
Scent enters as a carrier of emotional resonance.
It doesn’t announce—it lingers.
It shapes the air between disciplines.

Olfaction makes the architecture inhabitable.
It softens structure. It adds memory.

It is time without clock.
The dimension of decay, of memory, of afterimage.

F₄ → Material Art 

Here the work grounds.
Touch enters.
Weight, temperature, resistance.
The body speaks.

Materiality anchors the ephemeral.
Form without sound is static.
Form shaped by sound retains the pulse.

Ceramics hold the rhythm of breath in clay.
They are vessels of transformation—burned, cooled, touched.

Fₙ → Dream / Subconscious Cartography / Fieldwork

This variable is wild.
It resists being pinned.
Here enter the elements that don’t belong to a category—
dreams, impulses, emotional frequencies, transmission.

This is the unpredictable vector.
The element that breaks linearity.

It ensures that the equation never closes on itself.

The Function’s Nature

A_d(x) is not a sum.
It is not the addition of fields.
It is their interaction—their interference patterns, resonances, overlaps, frictions, and fusions.

It is co-activated emergence.
Where one field changes the output of the next.
Where no form is final.
Where every discipline becomes a verb.

A_d(x) = f(F₁ ↔ F₂ ↔ F₃ ↔ ... ↔ Fₙ)

The Output: A_d(x)

The transdisciplinary artwork is not an object—it is a field event.
What emerges is not one discipline wearing another’s clothes.
What emerges is a third thing. A fourth. A seventh.
A reality that didn’t exist before the fields touched.

Transdisciplinary Example

Breath as Parametric Manifold

This is an instance of transdisciplinary emergence—where breath, sound, geometry, and real-time computation converge into a single evolving form.

Using a recording of Breath of Fire—a rapid, cyclical Kundalini breathing technique—I generated a series of audio-reactive geometries in TouchDesigner. The waveform of the breath was routed into a parametric function, shaping a live point cloud based on rhythm, frequency, and intensity.

The result:
Parametric manifolds that visualize respiration as structure.
Each image is not a design, but a consequence—
a momentary trace of a living function:

A_d(x) = f(F₁, F₂, F₃, ..., Fₙ)
Here:

F₁ = Breath-based sound (sonic field)

F₂ = Parametric geometry (visual field)

F₃ = Rhythmic input (temporal structure)

F₄ = Conscious movement (somatic awareness)

This form did not originate in a discipline.
It arose from the interference pattern between them.
It is not a visualization—it is a structure animated by rhythm,
a recursive field shaped by the breath’s own energetic topology.

These geometries are not meant to be decoded.
They are to be encountered—like a dream seen from the inside.