EARTHLINES
Drone photography and digital symmetry surfacing the figures, faces, and architectures embedded in geological formations.
The faces were always there.
Embedded in cliff faces and boulder fields, hidden in the fracture patterns of sandstone and the erosion grooves of weathered rock, there are figures. Guardians. Creatures. Masks. Architectures. They are not placed there. They are revealed — by a simple act of symmetry applied to what geology spent millions of years building.
My process begins with a drone. I fly over and into geological formations, capturing the surfaces that erosion, mineral deposit, biological growth, and time have sculpted. Then I intervene: isolating sections, removing context, and applying bilateral mirror symmetry along a vertical axis. What emerges is not something I designed. It is something the rock designed, made visible for the first time by a tool as old as the Rorschach test — the mirror.
The brain's face-detection system is one of the most powerful and involuntary pattern-recognition processes in human perception. When confronted with bilateral symmetry in geological texture, it fires before the conscious mind can classify what it's seeing. You know it's rock. Your eyes refuse to stop seeing a face. That tension — between knowing and perceiving, between geology and identity — is the space where this work lives.
I call it breaking a code in the landscape. The code was always there. The drone and the mirror are the key.
Bilateral mirror compositions. The brain's involuntary face-detection system meets geological texture. Figures, creatures, and architectures the rock spent millions of years rehearsing, revealed in a single fold along a vertical axis.
Radial symmetry applied to geological detail. Concentric meditations on stone, vegetation, and erosion pattern — the kaleidoscope as an instrument of attention.
THE OTHER ARM OF THIS PRACTICE
Earthlines and Frame 25 are two arms of the same investigation. Earthlines surfaces hidden figures in geological formations through drone photography and digital symmetry. Frame 25 documents films through the material perspective of the objects that witnessed them. Both projects use contemporary technology not as content production, but as instrument of revelation — exposing what was already present but unseen.
Visit Frame 25 →