Working in the GIF format, he uses AI to distort, loop and recombine imagery, so each image feels like it is still in transformation, without a fixed beginning or end.¹ His interest in myth-making grew out of advertising, where he constructed narratives that audiences internalized, repeated and acted on. He has described that process as myth-making operating at a different speed and scale. The work also draws on a longstanding interest in early image-making, from cave paintings to internet memes, which he sees as existing in one continuous loop where meaning is constantly reassembled.² It carries an indirect connection to Japanese aesthetics and philosophy, drawn to simplicity, imperfection and decay.^1,2 He has connected this to the practice of some Japanese artists who change names and start over after reaching recognition, an idea of reinvention he relates to the fluid identities of web3.²

In April 2026 he presented BEASTIES, an evolving onchain series of creature forms that draws a line from prehistoric cave painting and mark-making to the repetition and remix logic of internet meme culture. He has described each Beastie as part of “the afterlife of images”, forms he says persist, mutate and reappear as they circulate. Each shape emerges from a process of accumulating fragments, forgotten symbols and degraded files, which he compares to fossils surfacing from a continuous digital sediment. He has framed the series as continuing rather than closed, an evolving mythology extending, in his words, “from cave walls to blockchain”.³

In July 2024 his work was included in Fakewhale's ART MARKET debut release on Foundation, a showcase of more than 40 artists.⁴ On what happens once an image enters circulation, he has said only that “it stops belonging to me”.²