I’m the environment artist your art director warned you about — audacious, relentless, and entirely too obsessed with light bounces and texture fidelity. I don’t just build worlds; I play God and engineer immersive realities that dare players to stop and stare (before getting sniped, of course).
From windswept wastelands to lush alien jungles, I sculpt every pixel with the kind of precision that makes GPUs sweat and fellow artists mildly uncomfortable. My ambition? Simple: redefine visual storytelling in games and leave a mark so big on the industry that they'll have to name a shader after me.
I thrive on pushing boundaries — technical, artistic, and occasionally social. If you’re looking for safe, predictable, or “just enough,” keep scrolling. But if you want someone who dreams in mesh topology and treats every project like it’s a next-gen magnum opus... congratulations, you’ve found your guy.
(Also, yes, I once made a pile of poop asset so good it got its own fan art. You’re welcome.)
I had the opportunity to take on the roles of an Environment, Prop, and Level artist on this graduate student project titled Hermea.