In Vivo takes its title from a biological term describing processes conducted within a living organism. While the phrase denotes organic life, it also points to the increasing entanglement of living systems with the technologies that observe, intervene upon, and transform them.

The paintings examine this tension between biological life and technological mediation. Rendered in oil, the works depict fragmented bodies, human and animal forms, medical apparatuses, and machines that echo organic structures. Close-up perspectives and ambiguous spatial relationships disrupt a stable sense of inside and outside, producing images that feel simultaneously intimate and estranged.

Rather than framing biotechnology as either salvational or destructive, In Vivo lingers in the paradox it creates: technologies that extend life while also altering its conditions. Themes of preservation, augmentation, and mortality surface through distorted forms and layered surfaces, where realism gives way to uncertainty. The paintings reflect a contemporary condition in which the body is increasingly understood through systems of measurement, intervention, and control, raising questions about vulnerability, agency, and what it means to remain “alive” within technologically mediated environments.