Hi Lisa, thanks so much for being here. Let's dive in... What are you doing?

I always make time for personal work, so sculpting forms influenced by synthetic biology, soft robotics, and material ecology. It’s part of an ongoing narrative that imagines a future where technology empowers nature.

For work, I’m on a couple of agency jobs- one’s a cloth sim for an ad, the other is designing graphic interfaces for screens in a high-tech police department for an upcoming series. I also just finished rendering the final cover artwork for the metal band Unprocessed’s new album ‘Angel’- that one was a lot of fun, they gave me full creative freedom, so it's a mutated bat.

I’d like to touch on the tooling that you’re working with. What’s the current stack you are using to render these works? (You mentioned Z-Brush & C4D? If you’d like to expand) + As a follow-up, can you share a little on your learning curve through this space?

I mainly use Cinema 4D and ZBrush, and I render with Redshift. I started with Octane, which I still love, but switched to Redshift when I landed my first agency role, just to align with the pipeline.

Before that, I came from a graphic design background, so I was completely new to 3D. I’d work 9 to 6, then come home and do hours of tutorials. I was doing the School of Motion C4D bootcamp: that really helped me understand MoGraph and Redshift shaders. A lot of my learning came on the job though, and from working around other artists who were generous with their knowledge. When you love something and you’re immersed in it every day, it clicks fast.

I picked up ZBrush a few months later because I missed the tactility of drawing — it gave me that physical connection back. I’ve tried getting into Houdini, but honestly, it didn’t click for me. It felt too rigid. I’m still collaborating with people who use it, but for now I’m sticking to tools that feel intuitive and support how I think.

Your work has caught my eye for a few months and I can’t quite put my finger on it. I’m usually drawn to pieces that feel quite gritty and dark in nature; however, yours seems to balance some experimental and metallic structures in a way I hadn’t previously seen. What are you looking for when creating new works?

I’m often trying to create a balance between softness and structure, something that feels organic but also slightly engineered. I like when the forms look familiar, just not from a world we know. There’s usually a metallic or synthetic element, but I still want them to feel fluid and a little mysterious.

Can you share something that you’re working towards in this space? How does the landscape feel right now for an artist like yourself?

There’s a lot of uncertainty right now, especially around AI- but in a strange way, it’s made me more confident about the future. I think as AI develops, it’s going to become a kind of filter. It’ll highlight work that’s intentional and soulful, and probably flatten out a lot of trend-driven content.

Artists who’ve developed a strong visual language, who are tapped into something deeper, are going to stand out even more. AI can generate, but it doesn’t feel. It doesn’t move you. I think that gap is going to become more obvious, and maybe even help bring value back to work that’s made with care and vision.

With this platform I’d really like to uncover something new in the journalistic space; it’s quite often difficult to navigate questions that are otherwise quite common and generic, so I want to leave a space below if you’re interested to share a few ideas for what have been some of your struggles and triumphs. What are some things happening with your work as you create that maybe aren’t so obvious to others?

I really love this style of question! one thing people often miss is that my process isn’t as premeditated as it might look. A lot of the time I’m not “designing” in a traditional sense. I don’t sketch things out or follow strict plans. There’s an overall concept I’m chasing, but much of it is intuitive.

I mean there are forms and textures that I like and I'm drawn to, and we can look at something once it's finished and post rationalise it's meaning or influence, but honestly it feels more like I’m channeling than constructing. There’s definitely intention behind it, but it’s not always coming from my conscious mind. I think of myself more as a vessel.

Do you see any practical application for the sculptures/moulds you are creating too? I saw you had some ideas for experimental furniture, body modifications, and robotics stuff. It’s so interesting; do you think you’d ever bring that into reality?

Yes, absolutely. I think there's always been this friction in my practice between speculative and practical design, and I’m really interested in that overlap, where sculptural forms can start to perform. Some pieces feel like they could exist as experimental wearables, prosthetics, or breathing soft-robotics. I think I’m still figuring out where I want that boundary to be, but I'm leaning more into bringing them into reality- particularly with soft robotics, which feels like the perfect bridge from my digital work. I'm also really drawn to skin and surface, so the idea of creating outer shells or body extensions is something I'm excited to keep developing.

As a follow-up question, how are you hoping for your works to be received and represented? It’s such an interesting time, the lines between an artist and their art have severely blurred; and in the advent of social media I often wonder what isn’t being communicated as this notion expands? The context for an artist is one of the few things that help separate something from the onslaught of art-upon-request.

I think about this a lot. There’s so much compression on platforms like Instagram, everything gets reduced to a looping second of something “cool,” and it doesn’t leave much room for depth. So I really value opportunities where I can provide context, or where the work can exist outside of social media. My hope is that it resonates with people on a visceral level first- like it makes them feel something.

Wrapping up, any artists or concepts out there that you’re enjoying and pulling inspiration from currently?

Lately I've been obsessed with the work of @tera_drop ,@simon.goritschnig & @johannesthl. These are the first names that come to mind.

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Be sure to check out Lisa's extensive work here.