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Earth 1939

Earth 1939

On this Earth, a major cultural archive was destroyed, taking with it countless records of ordinary life: advertisements, household objects, illustrations, manuscripts, photographs, and ephemera. A movement emerged to reconstruct the visual culture that had disappeared. I started contributing reconstructed objects and imagined artifacts to these collections. Eventually, I became known for making works that sat somewhere between historical reconstruction and contemporary art.

On this Earth, a major cultural archive was destroyed, taking with it countless records of ordinary life: advertisements, household objects, illustrations, manuscripts, photographs, and ephemera. A movement emerged to reconstruct the visual culture that had disappeared. I started contributing reconstructed objects and imagined artifacts to these collections. Eventually, I became known for making works that sat somewhere between historical reconstruction and contemporary art.

In this reality, I somehow managed to be an

In this reality, I somehow managed to be an

Artwork Contributor.

Artwork Contributor.

Here, I make artworks as my main job. I turn unique ideas into objects, fragments, manuscripts, and artifacts. The part I enjoy the most? Making something coherent enough to trigger a completely different story in someone else's head.

Here, I make artworks as my main job. I turn unique ideas into objects, fragments, manuscripts, and artifacts. The part I enjoy the most? Making something coherent enough to trigger a completely different story in someone else's head.

Conceptual Objects & Speculative Archives

Practice

Independent studio work

Material

Objects ยท documents ยท fragments

Typical output

Artworks ยท editions ยท fictional archives

Year of Establishment
10,435

Over time, 20 years to be exact, my practice has moved from making isolated objects to building believable bodies of work. I think about provenance, material language, exhibition context, and the story an object tells before I ever explain it.

Over time, 20 years to be exact, my practice has moved from making isolated objects to building believable bodies of work. I think about provenance, material language, exhibition context, and the story an object tells before I ever explain it.

Object making

Worldbuilding

Material research

Archival systems

Narrative sequencing

Professional Principles

Professional Principles

01

Leave room

Giving the work enough clues to feel like it belongs somewhere, but never enough to dictate exactly what it means.

02

Build the world

Material, scale, provenance, labels, and display all contribute to the fiction; the artwork does not stop at the object itself.

03

Multi-interpretation

The viewer brings memories and assumptions I cannot design in advance, so interpretation becomes part of the work.

The strongest fictional artifact is not the one with the most information. It is the one that makes people invent information themselves.

The strongest fictional artifact is not the one with the most information. It is the one that makes people invent information themselves.

The strongest fictional artifact is not the one with the most information. It is the one that makes people invent information themselves.

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Case Studies

Future Relics

Physical artifacts designed to look archaeologically significant while quietly embedding contemporary questions about belief and identity.

The Lost Archive

A series of reconstructed documents and objects from a fictional cultural archive, exhibited as though the collection had been recently recovered.

Objects With No Origin

A collection deliberately stripped of clear provenance, allowing viewers to construct competing histories around each piece.

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