Bio
I'm fascinated by the ever-evolving ways we tell stories.
Our online world highlights ancient truths about communication: archetypes persist, even as storytelling adapts; old media never truly vanish, because they're reborn in new forms; and art takes on a life of its own, independent of the creators. These timeless concepts inspire the way I create.
I find the interactive storytelling potential of video games particularly exciting. That passion led to nearly a decade in the video game industry, where I worked on Warframe and Forgotten Runiverse, before returning to academia.
My curiosity about how people connect online, in-person, across languages, and across cultures drew me to pursue a Master’s in Media Studies at Western University. There, I explored how the Korean Wave, and K-pop in particular, found its way into the West. As a Canadian who speaks English and French, I found studying Korean so rewarding that I’ve continued to learn it ever since.
In short, I find joy in connection, wonder, and the creative potential of all media. Maybe that's why I’ve never stopped creating illustrations with crayons. From the celestial to the cybernetic, everyone is invited to share in the magic of storytelling, language, art, and time-honoured idle amusement.
Stories
Electric Starlight
a short story about celestial navigation
Neon Garden
a short story for the Romantic
Terms of Service
a love story
Lucid Dreamer
it's okay to keep sleeping
Hugo's Octopus
Published in the Litro Lab Podcast by Litro Magazine
Little Bird Keeper
a children's story for those who remember the magic
Alchemist Properpine
Part of the Forgotten Runes Wizard's Cult
Eve
a short film about hope
Clouded Mind
a short story for those lost in the clouds
Afternoon Walk
flash fiction for a beautiful afternoon
Window to the Soul
Published in Issue 2: Cryptic by CSC Alt Mag
Art
I enjoy layering techniques that create distinctive textures, and colours can even be customized by melting down and mixing those old, broken crayons. I get a kick out of the added bonus that finishing a piece in crayon makes the paper waterproof.
An art teacher once told me that no legitimate artist uses black outlines in their work. That got me asking the age old question, "What makes art legitimate anyway?"
As an experiment, I set out to use the least legitimate medium I could think of to make something meaningful. I landed on crayons, which I hadn’t touched since childhood, and finished that first piece with a big, black Sharpie outline.
I immediately fell in love with the process. Yes, crayons are playful, but after years of experimentation, I’m pleased to report that they are indeed legitimate.
I often draw aliens and robots. They are especially fun when integrated into natural or fanciful settings. I also have a collection called Animals Wearing Sweaters, which started as a lunch break joke with a friend about creatures you'd never expect to see in knitwear.
Whether I’m drawing the mechanical, the natural, or even the supernatural, my work is about finding humanity in unexpected places.
