Landscape:

Painting landscapes from memory allows me to transcend the limitations of literal representation and delve into the realm of personal interpretation. By relying on the impressions imprinted in my mind, I tap into the reservoir of emotions and sensations that nature has evoked within me. Internalizing the external world creates a unique visual language where the landscapes take on a subjective, dreamlike quality.

The tactile nature of thick oil paint becomes integral to my artistic expression. With every stroke, I build layers of texture and depth, recreating the visceral experience of being immersed in nature. The buttery consistency of the paint allows me to manipulate it with a sense of spontaneity and physicality, imbuing the landscapes with organic energy. By capturing the intangible essence of landscapes, I strive to foster a renewed appreciation for the beauty surrounding us and awaken a deeper connection to the natural world.

1984:

George Orwell is a master at manipulating language to make the reader understand how social and environmental conditions directly relate to self-perception. How can the artist reimagine Orwell's intellectual contributions to social progress in the New Media Age, where imagery is more critical than written words? This recent body of work invistages the rapid onset of cognitive dissonance in contemporary life and the role of visual propaganda in our understanding of time and space.

Altar of Commerce:

Altar of Commerce is an ongoing project investigating early modern painting techniques mixed with contemporary imagery and content.

Time 100:

Imagery from the “Time 100 Greatest Photos,” a list of Time Magazine’s most influential images since the advent of photography, is the starting point of this project. The Time 100 list transforms the various conquests of Western culture into the liminal space between absolutism and subjectivity. By translating these famous images into lyrical works of abstraction through fluid and deliberate mark-making and surface handling, these digital paintings remove the visual connection to time and place, reinterpreting and subverting the apparent significance of the original images.

Cacophony:

After completing a residency in political collage, the work focuses on the cubist and dada art movements and their relationship to the New Media Age. Today, we see elements of authoritarianism everywhere. A few examples of these factors in Cacophony are inflammatory rhetoric that scapegoats governmental failures, a disregard and open attack on civil liberties, and simple one-sided media narratives. Much like the Cubists and Dada a century ago who challenged authority, this work questions the function of power in the New Media Age in this work.

“New Media,” 2021, digital photomontage and looping GIF, 24” x 34” 

“How Democracies Die,” 2021, single channel video, 4:40