JCGD
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INSTAGRAM
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 MARKED MARBLE 6
MARKED MARBLE
NOVEMBER — DECEMBER 2025
DIGITAL PRINT SERIES
PROCESSING
DESCRIPTION
Marked Marble is an interactive digital project that explores the relationship between two seemingly opposing forms of visual expression: classical sculpture and contemporary graffiti. Inspired by time spent in New York City, the work examines how society assigns value to different forms of art based on the spaces they occupy and the institutions that support them. While visiting the city, I became fascinated by the graffiti tags that covered walls, street signs, utility boxes, and other public surfaces. Although often viewed as vandalism or disorder, I saw a distinct visual beauty in their forms, symbols, and marks.
This experience led me to question the contrast between graffiti and the artwork displayed in museums. During a visit to the Metropolitan Museum of Art, I was struck by the way classical Roman sculptures were preserved, protected, and celebrated within a cultural institution, while graffiti existed outside in public spaces where it is often considered rebellious or illegal. Despite these differences, both art forms serve as records of human expression, identity, and presence. Both communicate ideas through marks, symbols, and visual language, yet they exist within vastly different social and cultural contexts.
Through digital manipulation, Marked Marble brings these two worlds together. The project transforms graffiti and classical sculpture into a shared visual language, allowing them to merge and coexist within the same image. By blending the subjects through a pixel-based aesthetic, the work reflects the increasingly digital nature of contemporary image-making while creating unexpected relationships between historical and contemporary forms of expression. Ultimately, the project explores questions of value, permanence, and cultural perception. It challenges viewers to reconsider distinctions between "high" and "low" art while revealing visual similarities between two practices that, despite existing centuries apart, are both rooted in the human desire to leave a mark.
PROCESS
The development of Marked Marble began with collecting source imagery from two distinct environments throughout New York City. I photographed graffiti that I encountered in public spaces, selecting tags, symbols, and markings that stood out because of their visual character and composition. I then visited the Metropolitan Museum of Art and photographed a collection of Roman and classical sculptures. These two image archives became the foundation of the project.
Using Processing, I imported each photograph and developed a system that transformed the images into compositions built from square pixels. I chose a monochromatic blue color palette because of the strong contrast it created against the white background and because it captured a visual atmosphere that felt connected to New York City's urban environment. The pixelation process reduced each image into a simplified icon-like form, emphasizing shape, silhouette, and visual structure rather than photographic detail.
Each image was assigned a numerical value within the program, allowing users to select pairs of images for comparison and interaction. When two images are activated, the project generates a dynamic transition between them. As the user moves the mouse horizontally across the screen, one image gradually transforms into the other, creating hybrid compositions that merge characteristics of both graffiti and sculpture. This interactive feature allows viewers to explore a range of visual relationships between the two subjects rather than presenting them as separate entities.
To further encourage experimentation, keyboard controls were incorporated into the program. Pressing designated keys increases or decreases the pixel density of the images, allowing users to shift between highly abstracted icons and more detailed representations. These controls highlight the role of digital translation within the project and provide multiple ways of experiencing the imagery.