working across a variety of fields including finance, marketing, fabrication, fine art, tech and fashion he embues the jack of all trades persona.
working across a variety of fields including finance, marketing, fabrication, fine art, tech and fashion he embues the jack of all trades persona.
By 2024 I knew that I wanted to take these forms these processes and not only share it with the world but make the assessible as wearable sculptural adornment systems. It was then I embarked on the creation of the SOMADA product line that exist today. In collaboartion with friends, other talented designers I built off of and created the body of work that is behind the brand currently.
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Nothing is designed in a vacuum, what we create is an amalgamation of all our intakes througout our lives, what impacts us, what moves us, and most importantly what intrigues us.
For as long as I can remember I would always run my finger along every surface I could find, bark, soil, grates of a speaker gril, the grip tape of a skateboard.
I feel repeating forms, elongated forms, forms that bump again and again and slowly arc across through and into themselves. Its this that I draw my ‘inspiration’ from.
I collect these together, the imagery, the feelings before I sculpt. Then set them up in front of me, not as inspirations but as reminders to why I am here to sculpt.
A sculpt and its reference: H.R. Giger (1964) “Untitled” Relief
All these pieces pieces are developed through a hybrid digital workflow combining direct sculpting and parametric generation. Forms are built using a combination of Virtual Reality sculpting and node-based systems in Blender, allowing for the creation of geometries that would be impractical or impossible to resolve through traditional modeling or subtractive manufacturing.
The design language is intentionally non-ornamental. Structural repetition, articulation, and surface continuity are treated as primary visual drivers, producing components that read as functional systems rather than decorative elements.