In the Quantum Series, I explore how the mathematical programs that describe the laws of creation interact with our social dimension. For me, this interplay is what brings into play transformation—a key issue of Afrofuturism, or any movement of social transformation.

My method of creation in these paintings parallels the concept: some are painted by the human hand others are digital transparencies but derived via such mechanical and mathematical processes as photography and fractal software.

Using a process that I call “generative photography,” I begin by photographing outdoors, mining the urban landscape of NYC, processing its rich array of socially loaded textures. From my photographic sources I derive geometry that I make radiate out from a nucleus, at the center of each canvas. The nucleus is both a source and the point to which all things must return, as if the universe is an ouroboros, biting its own tail. This is the dynamic of the universe, always stemming from the same source of energies, always returning to it, irrespective of culture.

The Chopper and Demons of Combustion series were inspired by Bronx modified motorbikes, and I was thinking about combustion and the environment, while respecting their cultural uniqueness. Quantumblu was inspired by photographs of urban detritus, and I used geometry to activate the laws of the universe against perpetual consumerism as in Gucci lights.

The nucleus can also be seen as a portal between one dimension and another, the threshold where the material world transforms into the non-material world, where light meets dark, chaos /order.

Some of my other works, such as the Dreamcatcher Series and the installation Naga Baby, have related concerns of the interplay between mathematical laws and social forces.