About Me

To me, I have a certain affinity for weirdness and things that fall outside of the norm—growing up, I was what some would describe as a weird kid. Weirdness is something that I find to be not truly definable, as I think what is weird is specific to each person, so long as it makes them isolated somehow. As someone who struggled socially and emotionally, especially when it came to interacting with others, I found solace in making art of the things that I found cool that I struggled to speak with others about. With that notion of weirdness having been so deeply ingrained into my character, being able to see weirdness elevated and put in a more positive light means a lot to me, as opposed to the way I have seen this nature of being treated in the past. I feel as if there is a societal tendency to frame non-conventionality and otherness as something that is inherently negative, and that is something that I feel is actively harmful to our greater society. Anything and anyone can be weird, and to be weird is not a bad thing, and uniqueness and individuality should be uplifted as opposed to discouraged. By drawing themes from peculiar sets of media and games, my particular style of work aims to be all-around odd while also requiring some level of physical interaction with the viewer, whether that be physical movement or merely just forcing the viewer to see potential different views of the piece at hand, and forcing the viewer to physically interact with a piece in a way that would be uncommon for a typical museum installation. Thematically, I find it interesting to draw from the odd and niche eras of the 80s, early 2000s, or even the early 40s and 50s–things that inspire me are early Nintendo POWER magazines, the game Earthbound, the works of David Bowie, the Absurdist movement(s), David Lynch’s works (more specifically Twin Peaks), Elden Ring, the Dark Souls series, Bloodborne, and the game Disco Elysium. Sourcing inspiration from the low-polygon models and the visual style of video games from the late 90s to early 2000s, I plan to mix my experience with creating forms and shapes with new concepts–particularly, concepts that extend beyond the world of the painting, like collage and sculpture. My focus as of late lies specifically in experimentation–new techniques, new mediums, and new ideas, and doing things that would typically make me hesitate, but doing them freely. I have spent my time focusing on a later era of digital media–the early 3-D era and how that medium attempts to mimic the natural world. This  parallels how things in nature, specifically people, have a cyclical tendency to mimic other things and their uses, like with people going from riding animals to using automotive forms of transportation. Humanity has an incessant tendency to attempt to control our surroundings by removing any outside agency from our environments, and I would like my art to touch on this. Ideally, this will create a more elevated production of the same vision for art that breaks some sort of conventional boundaries, but with some new methods based on the research I have been conducting as of late. Specifically, my more recent research has been diving into ‘readymades’ and found objects with the aim of adding additional dimensionality to my work.