Oscar’s Selfie
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Iraqi Girl at Checkpoint
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
First Cellphone Photo
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Bosnia
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Surfing Hippos
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
99 Cent
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
The Situation Room
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Cowboy
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Eurasia (Gall-Peters Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Central Casting
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Tank Man
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Coffin Ban
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
The Industrial Complex
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
The Fantasy Industrial Complex Part I,
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
The Hand of Mrs. Wilhelm Röntgen
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Oceania (Mercator Projection),
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
America (Gall-Peters Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Babylon (Mercator Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
America (Mercator Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
The Vulture and the Little Girl
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Guerrillero Heroico
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Eurasia (Mercator Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Rome (Mercator Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Michael Jordan
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
The Fantasy Industrial Complex Part II
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Africa (Gall-Peters Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Superpower: Mercator Projection
DSuperpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
American As
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Pillars of Creation
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
“Falling Man,”
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Africa (Mercator Projection)
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
The Agricultural Industrial Complex (diptych panel 1),
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Babylon (Gall-Peters Projection),
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
Fetus 18 Weeks
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
Superpower: Mercator Projection
Superpower envisions global disparities shaped by economic, cultural, and political forces. Inequality isn’t just about wealth; it’s embedded in global flows of ideas, media, and capital. These forces aren’t confined to national borders but are part of a global consumer culture that spreads along fault lines of conflict and inequality. The maps visualize the shifting “scapes” of globalization, revealing how territory is continually repurposed, perpetuating cycles of inequality.
A sublayer of this project is the contrast between the Mercator and Gall-Peters map projection, with the Mercator being the most commonly used map in the Global North, which illustrates Greenland being the same size as Africa. In reality, Africa is 20 times larger than Greenland and can fit the entirety of the United States, Europe, China, and India within its borders.
democracy
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Played
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
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The Agricultural Industrial Complex (diptych panel 2)
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Hooded Man
From the project “Time 100” which transforms the “Time 100 greatest images of all time” into abstract digital paintings, I strip away temporal and spatial contexts, reinterpreting their cultural, historical, and emotional significance through fluid mark-making.
bipartisan
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Banana Republic
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Sucker
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Kool-Aide
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
indoctrination
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
food-chain
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Equal
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
dialysis
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
system
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Sucker 2
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Sweet-N-Low
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
bleach
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Splenda
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.
Peanut Gallery
This body of work includes paintings and digital collage that create a conceptual lexicon a poetic cipher decoding the body politic within a globalized milieu. Reminiscent of Dada’s subversive spirit and surrealism’s dreamlike ambiguity, these paintings distill the ephemeral pulse of modern existence, tracing the imprints of photography, media, and the omnipresent tentacles of big data, governance, and corporate power.
These works integrate primal potency of prehistoric cave art with icons of universal resonance to recast them as a surreal allegory of political manipulation. In this work the body politic flickers under the toggle of authority, its acquiescence to a social contract found in images that fit together like hieroglyphic compositions, legible yet culturally elusive that fuse timeless symbols into a disquieting visual riddle.