The Vastness of The Unknown

And other updates

Jul 30, 2025

It’s true: I haven’t kept up with my promise to engage in writing more on here, but it’s never too late. Today, the weight of writing something interesting is off my shoulders—time to just get to it.

I started writing this back in April…

Then life happened. Work piled up, then the summer came and we left on a camping road trip around the Maritimes provinces. So, yeah, this draft sat untouched for months. I kept telling myself I’d finish it “soon” — and, well, now it’s July.

Lately, I’ve been pretty busy with work and other personal stuff, so my art practice kind of took a back seat, along with the time and motivation to document whatever it is I’m doing. I still post regularly to Instagram, though—that’s the beauty of generative art! The last time I posted on Substack was back in November, right after that awesome trip to the south of France. Some stuff has happened since, so I could start with that.

Earlier this winter, I released a new short-form art collection!

Titled “Je Me Souviens,” it offers a commentary on the impermanence of human civilisation. The title is a nod to the official motto of the province of Quebec, which, translated literally, means “I Remember.” The collection is comprised of six monochrome artworks that play with particle movement to create abstract ghost cities.

I wanted to highlight that, as humans, we are an integral part of this world, which is constantly changing and evolving. We act as if we’re here to stay, but we really shouldn’t take any of this for granted. Our biggest achievements as a civilization may decay and become memories before ultimately falling into oblivion.

Each artwork can be rotated to create a new composition. This is a neat and subtle touch that represents the inaccuracies of our memories and how we recall things.

La Cité Liminaire - ( Normal & Inverted)

— Collection of 6 artworks
— Each piece in the collection is a unique digital artwork (1/1)
— A 12×17 signed print of the work is included at mint (shipping fee may apply)
— The collection is currently hosted here on Highlight

Shift in priorities

Less available studio time has coincided with a deeper focus on my why. What do these visuals truly convey? How does this practice reflect my questions and concerns?

Eight years of generative art and creative coding warrant a step back to analyze the work with fresh eyes. Common threads and recurring techniques have begun to surface, making it easier to translate research into words—and to share it in an accessible, relatable way.

Well, yes, and this helps tremendously in the task of putting my research into words so that I can maybe reach people and share what I’m doing in a digestible and relatable way.

This brings me to another important point for me: I want to bring awareness to this medium in the local scene. Digital art is still pretty much taboo in Quebec City, and I’m dead set on demystifying it and also showing people that generative art is not AI art—haha.

La charpente des fauves - in Québec City

Putting a grain of chaos in the machine

For that to be effective, I’ve been applying to open calls and trying to get my work shown in public settings here in Quebec. I think this is the hardest part:

Filling out a LOT of forms
Documenting my work and project in written form
Preparing budgets for installations
Coordinating logistics and timelines

It’s tiring, but it needs to be done.

As trying as it is, persistence matters. While many applications returned “no” or ended in radio silence, a few positives emerged:

I got featured in a local magazine!

Revue UN:UN is a magazine from Quebec City that covers art, design, and architecture in the local scene, and I was fortunate enough to be featured in their fourth edition (only one per year!).

This was the perfect condition to double down on writing about my art practice and research, about my creative process and what makes me come back again and again.

I’m really grateful for this opportunity but also really humbled to be featured alongside all these amazing artists from all mediums and passions.

What’s to come?

Multiple collections are now unfolding in parallel, thanks to a cladogram‑inspired system built over the years. More on that soon (scoop: it’s all about abusing Git).

I’m also working on adapting my work for live performance so that I can do some live coding and maybe one day do something in front of a crowd—this may happen sooner rather than later.

I’m also working on a public art display; still waiting for some logistics details, but I’ll let you all know as soon as possible!

Here’s some output from my latest project still in the works (codenamed: EX‑LIGNIS).

Thanks for taking an interest in my work. I can’t say how grateful I am.