JCGD
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RESUME
WHO AM I
I’m a designer drawn to structure, balance, and simplicity. I think a lot about how things are organized and how clarity can come from complexity. My background as an athlete has shaped how I see things—I’m used to thinking in terms of movement, rhythm, and awareness of space, and that naturally carries into how I approach design.
WHAT I DO
I create visual systems and identity-driven work that sit between branding, digital design, and experimental visuals. I’m interested in how rules, patterns, and structure can be used to build identities that feel consistent but still flexible and alive.
A lot of my process starts with the human body—often through photos or studies of movement—which I then break apart and rebuild using digital tools. I use coding, 3D, motion tools, CAD, and print to turn these ideas into something visual and physical.
Across all of it, I’m trying to build work that feels structured but not fixed—something that can shift, respond, and evolve depending on how it’s experienced.
WHAT I BELIEVE
I believe structure isn’t about restriction—it’s about giving things room to make sense. When a system is strong, it doesn’t limit creativity; it supports it.
I’m especially interested in the body as a kind of visual language. Movement, repetition, and small changes in motion can say a lot without needing explanation. A lot of my work explores that space between control and fluidity—where things are intentionally shaped, but never completely fixed.
CV A MOTION PICTURE 6
A MOTION PICTURE
JANUARY - MAY, 2026
TOUCHDESIGNER INSTALLATION ( 20 X 20 PRINTS, 11 X 17 PRINT, INTERACTIVE INSTALLATION, DIGITAL IMAGES)
BFA SHOW PROJECT
DESCRIPTION
A Motion Picture explores new ways of seeing movement by interpreting it through abstract, data-driven visuals. The project is inspired by the motion studies of Eadweard Muybridge, who used chronophotography to break movement into analyzable sequences. Similarly, this project uses contemporary digital tools to reframe motion, shifting it from representation into visual data.
Using motion tracking and blob detection in TouchDesigner, I reinterpret widely recognized sports moments, including archival footage of Mike Tyson's Dempsey Roll, Olympic table tennis rallies, and dunk contests. By stripping away visual detail and focusing solely on tracked movement, the work emphasizes the choreography, rhythm, and energy of bodies in motion rather than the narrative of the original events.
The project asks how meaning can be created when an image loses its subject and context. A Motion Picture suggests that rhythm, speed, tension, and flow are what make these moments memorable, allowing movement itself to become the vehicle for storytelling. Alongside the archival footage, I included a series of personal experiments using my own body to explore the capabilities of the program and further develop the visual language that defines the project.
PROCESS
The project was built in TouchDesigner, a node-based visual programming environment developed by Derivative for creating real-time interactive media. Instead of traditional coding, TouchDesigner uses connected operators, or nodes, to build visual and data systems, with Python available for more complex functions.
A central component of the installation was the Xbox 360 Kinect, a motion-sensing device capable of tracking depth and full-body movement in real time. By connecting the Kinect to TouchDesigner, I was able to detect the movement of multiple people and objects within the space and translate that information into interactive visuals.
The project used two primary effects. The first employed edge detection and feedback systems to capture the outline of the body and transform movement into layered patterns. The second used blob tracking and particle systems to read movement as individual points and generate lines that connected them. Because the visuals only appear through motion, participants effectively draw their own image as they move through space.
This effect became the foundation of my BFA installation. When multiple people interacted with the piece simultaneously, their movements generated overlapping line patterns that visually expressed connection through shared motion. Screenshots of both systems are included below to demonstrate the complexity of the node networks used to create the work.