I explore materiality to question the relationship between entropy and order. I am interested in the way experience and knowledge is mediated through tools of understanding the undetectable – screens, telescopes, microscopes, X rays. How are is the unseen made visible through these devices, and what can it reveal about the limits of our perception? My work references the “Gods eye view” of scientific imagery such as microscopic slides of ocean plastics and aerial views of landscape designs as methods of exposing and critiquing the dominant forms of understanding and approaching the human “other”. To challenge the particular processes of relating to the natural world, my work intentionally sits in a dialectical space, holding the tensions of many opposites – digital/physical, nature/culture, hard/soft, self/other. I call this “dissonant aesthetics”, a term that describes my approach to collage and assemblage, where I oscillate between chance events and ordered process to capture these multiple tensions. By referencing and mixing histories of expressionist and hard edged painting with the poetics of light and space, I want my work to provide a mapping of embodied affect along with entangled modes of perceiving.