The Geology of the Invisible My practice is grounded in a geology of the invisible, where the human figure, light, and material emerge through layers, revealing an identity in continuous transformation. Working within a form of figurative destructuralism, I respond to a contemporary paradox: a technologically hyper-connected world in which human experience feels increasingly fragmented. My work searches for what remains beneath the surface — moments of wonder and raw beauty that persist despite emotional disconnection. My background in Earth sciences, shaped between Stanford and the École des Mines de Paris, deeply informs my visual language. Concepts of stratification, fracture, and sedimentation shape my understanding of time and memory: identity is not fixed, but layered, revealing and concealing itself simultaneously. Trained initially in oil painting and glazing techniques, I extended this logic of layering into digital practice, drawing and painting directly on the iPad and approaching the pixel as a luminous material. Seeking to move beyond the immaterial smoothness of the screen, I turned to encaustic as a physical grounding — a medium that allows me to fuse, excavate, and reactivate surfaces through touch. In my work, wax functions as a geological membrane: it preserves gestures while allowing them to be reopened, scraped back, or transformed. Pastels, watercolors, sumi ink, rice paper, and printed fragments of earlier digital images accumulate like sediments, bringing together different temporalities — those of the hand, the screen, and memory. Through processes of addition and excavation, I trace connections between visible surfaces and buried structures, revealing fragile links between humanity and the environment. The human figure becomes less a portrait than a porous terrain. Silhouettes dissolve into organic horizons and fields of light, creating interior landscapes where abstraction and figuration coexist. Destructuring is not an act of negation but a gesture of revelation: fractures expose hidden strata. My surfaces invite slow looking — a geological reading in which the eye moves through layers to discover fleeting forms. Whether composed through pixels or wax, each work explores the threshold between emergence and depth. Rather than representing the world, I seek to reveal the moments where matter, light, and memory shift and transform under the viewer’s gaze.