“Exploded Prisms” focuses on an exploration of geometric structures and how they can be applied spatially in sculptural installations or other various projects. This particular design takes pyramids and prisms and gathers them at a focal point, so that the angular prisms eventually form a circular structure.

The design serves as an exploration of how simple geometric shapes can interact together to create more complex forms or shapes that are seemingly unrelated to the individual pieces.

My design process relies on continual feedback. There must be a back and forth between mediums: paper, digital, glue, 3D printers, or whatever else. There is constant interaction between the objects at hand and the digital form, and I feel that the relationship between mediums, tools, and techniques are integral to the process of design and creation.

The PRO pen is especially useful in this communication between the digital and material. Most of my designs are first made in my sketchbook. Ideas are then transferred between the sketchbook and the computer and sometimes re-iterated through other forms of model making materials.

The PRO pen is most useful when integrating finer details into a sketch model, and visualizing how the design could fit into a landscape or general architectural setting.

Simply, the PRO allows the ability to build in 3D space that a traditional fountain pen or digital plan does not.

This exhibition is about revisiting fragmented memories and walking the fine line between fact and fiction. It really does depend how you remember it.

With voices recorded twenty years apart and on different continents, this is the original memory and a memorial - and at its center is a life-sized, hand drawn 3D drawing of the human form attached to a string of written and spoken thoughts.

I wanted to create a drawing and shell of a human being that is both solid and fragile at the same time, using unexpected and emerging technologies. I wanted to create a 3D drawing using my own 2D drawing style. The 3Doodler enabled me to do this directly onto a cast of the human body and not miss any required detail. Once the cast was secured, different versions were made/drawn with the pen - enabling me to plan how different parts of the drawing could be joined and made whole.

Drawing the figure was a slow progress with 56 hour of drawing and 949 strands of black plastic, but with careful planning, the drawing began to come together and inform the piece as a whole including its environmental and performative elements.

The 3Doodler's creativity and its innate pushing of boundaries allows me to blur the line between drawing and sculpture.