This mixed media series features a surreal image of a six-legged dog, viewed through rosy aesthetics that critique the pervasive straw man fallacy in society. The dog represents the distortion of reality—how we accept simplified, comfortable versions of truth instead of confronting complexity. Through the overuse of pink-colored lenses, the series explores how cultural illusions are reinforced, offering a playful yet unsettling commentary on the ways in which we lie to ourselves. Drawing from Sartre’s ideas on bad faith, the six-legged dog becomes a metaphor for our collective unwillingness to confront the absurdity of truth.

This series uses AI-generated depictions of divine figures—such as God, Mother Earth, and the Holy Spirit—to probe the intersection of technology, creation, and spirituality. By leveraging large language models (LLMs) to create these representations, the work highlights the paradox of using artificial intelligence to conceptualize and portray the divine. It invites reflection on the ways in which AI, a product of human ingenuity, can now serve as a medium to explore the boundaries of the sacred and the technological, questioning the nature of creation, consciousness, and the power to shape the universe itself.

Tropic Confessions is a series that blends absurdity, humor, and raw spontaneity to comment on the complexity of human interactions and perspectives. Inspired by real-life confessions and statements, the work reflects on how language can distort meaning and how spontaneity shapes both individual and collective experiences. With a brash and sometimes absurdist tone, the series invites the viewer to reflect on the performative nature of confession and self-expression, as well as the fluidity of truth in a world where meaning is often lost or transformed in the process of communication.....

This series was born in outrage. Sparked by the brutal images of border patrol officers on horseback corralling Haitian immigrants at the U.S.–Mexico border, the work confronts the unrelenting machinery of exclusion—the violent theater of borders, and the suffering it manufactures in real time. These are not just images of atrocity. They are elegies. They are warnings.

Each piece in the series serves as both witness and indictment, drawing attention to the absurdity of geography as a justification for cruelty. Borders are treated here not as neutral markers of land, but as arbitrary inventions—lines drawn in the sand that calcify into policy, punishment, and spectacle. These lines do not protect. They sort. They separate. They decide who gets to suffer.

Inner Landscape is a series that delves into the nature of existence, memory, and the blurred boundaries between the real and the imagined. Through AI-generated depictions of geographical locations that may not exist physically but exist vividly in the recesses of personal memory, the series raises profound questions about what it means for a place to be tangible. If something can exist in one's memory, can it also take form within the machine that powers artificial intelligence? Is this existence any less real, any less significant, than a physical, geographical place?

The work hinges on the concept of memory as both a personal and collective geography—a landscape created by the individual and shaped by the mind’s capacity to visualize and recall, even when those locations may not have ever been physically visited. In the case of AI, the machine generates landscapes born of data—patterns, algorithms, and inputs that might reflect or approximate human memories, but are not quite the same. This raises the central question of whether such landscapes, generated by artificial intelligence, can be said to “exist” in the same way as physical landscapes or even memories themselves.

Cognitive Dissonanceis a series that confronts the chilling ability of individuals to exist in a state of willful ignorance—to shut out the suffering of the world even as it rages around them. In a society where famine, apartheid, and war continue to scar humanity, this work exposes the psychological mechanisms that allow people to remain indifferent. The series dissects how, through cognitive dissonance, individuals can reconcile their everyday lives with their participation in, or passive acceptance of, systems of injustice.

Pure Abstractions is a series that embraces the tension between meaning and meaninglessness, drawing the viewer into the paradox of non-representation as a form of representation in itself. At first glance, these pieces may seem devoid of content—random, chaotic, or disjointed—but they beckon a deeper inquiry into the very nature of aesthetic experience and the significance of absence. If meaning is constructed, and abstraction can be perceived as meaningless, does this absence of meaning carry meaning in itself? In a world rife with signification, what does it mean to encounter something without a defined purpose or narrative? Is beauty found in the very resistance to meaning?

Faux Pas is a stippled linen series that reimagines copyright-free advertisements from the 1920s–1940s through irony and surrealism. By subtly warping historical marketing language and imagery, the work interrogates the promises of permanence made by past inventors and the rapid obsolescence of those dreams in today’s hyper-plastic, subscription-based culture. Drawing from John Gray’s Straw Dogs, the series challenges the myth of human progress, exposing how technological optimism and consumer permanence were illusions all along—now punctured by the reality of a society that no longer owns what it buys.

This stippling series explores the persistent constraints placed on women’s bodies in public life, media, and advertising—sometimes subtle, sometimes overt, and often eroticized under the guise of aesthetics. Through painstaking pointillism, the work echoes the slow, cumulative pressures of being looked at, shaped, and confined. Drawing on Simone de Beauvoir’s concept of woman as the “Other” and bell hooks’ critique of the objectifying gaze, the series meditates on bondage both literal and symbolic. It asks what it means to be visible, consumed, and restricted—when life itself is shaped by a gaze that reduces, fetishizes, and disciplines.

This series reappropriates a once-trendy design format (originally used to list fashionable global cities) by substituting in the names of notorious American serial killers. In doing so, it critiques the mechanisms of recognition, value, and consumerism under late capitalism. Influenced by Sartrean existentialism, the work reveals the absurdity of fame detached from morality, and interrogates the transactional nature of identity, infamy, and cultural memory in a system that commodifies even horror. The shift in color palette from black-and-white to white-and-red evokes both purity and bloodshed, implicating the wearer in the spectacle of violence-as-style.