"These simple, iconic forms are instantly recognizable and allow me to convey complex emotions and ideas in a way that feels immediate and relatable."

Can you talk about your decision to use stick figures and anthropomorphic tools as the main subjects of your paintings, and how they contribute to the overall meaning of your work?  

Sure! It primarily stems from my desire to capture a universal human experience. These simple, iconic forms are instantly recognizable and allow me to convey complex emotions and ideas in a way that feels immediate and relatable. By stripping these characters and objects of their individual identities, I can draw attention to the underlying commonalities that connect us as people. This emphasis on shared experience is central to the meaning of my work—I want to inspire viewers to reflect on the complexities of human existence and the ways in which we are all fundamentally connected. Additionally, the use of anthropomorphic tools allows me to explore the relationship between humans and the objects we create, blurring the line between the natural and artificial worlds.

I hope that my paintings can serve as a catalyst for deeper reflection and understanding, both of ourselves and the world around us.

How do you approach the process of creating contrasting textures and flat colors in your paintings, and how do these creative decisions contribute to the narratives and psychological states of your characters?  

My paintings incorporate a range of styles—from flat colors inspired by pop art to smooth gradients commonly observed in digital imagery, and even thick, heavy textures that create a jarring, intrusive effect. I'm fascinated by the fragmentation and abrupt boundaries that can exist within a single image, so I enjoy using these techniques to articulate my experiences of a world that's constantly shifting between natural and virtual realities. Through my creative decisions, I seek to highlight the strangeness of my characters and narratives, giving them forms and realities that are unfamiliar, yet captivatingly peculiar.

Can you talk about your use of different levels of perceptual reality in your work, and how it contributes to the conflicting sense of truth in your personal experiences of a physical reality augmented by the virtual aspects of the digital world?  

Haha, it may be the other way around actually; that conflicting sense of truth in my personal experiences is the catalyst for the different levels of perceptual reality observed in my pieces. My work incorporates various perspectives, blending naturalistic elements with references to the virtual worlds that I'm frequently immersed in. One thing I often experience is a loss of locality in my physical environment—with the internet and digital devices, I'm connected to numerous small worlds, friends on the other side of the planet, and a vast amount of other such information and communication that is not accessible through my immediate surroundings. As a result, my perceptual truth is constantly expanding, fluctuating, and often—conflicting. My paintings are my way of capturing this phenomenon and expressing that dichotomy of existence.

What artwork have you seen recently that has resonated with you?

I recently visited an exhibition in New York by my former MICA professor, Ken Tisa, featuring his brilliantly strange and unique tapestries. The exhibition showcased his incredible craftsmanship and the unfathomable amount of time and labor he pours into each piece. Appreciating his work in person touched me deeply and encouraged me to slow down, invest more time in myself, and more of myself in the pieces that I create. In a fast-paced, capitalist society, it’s all too easy to get swept up in the pace—Tisa’s artistry was a beautiful reminder that there is inescapable value in taking the time to create something truly remarkable.  

Is there anything new and exciting in the pipeline you would like to tell us about?

I’m stoked to attend two upcoming residencies—one with Wassaic Projects in New York, and the other with Moosey in London!

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All images are courtesy of the artist
Date of publication: 20/04/23