Madness at Minimum. An act of rebellion to institutional elitism. I wanted themes and silhouettes stripped down to their most necessary, then warped. There’s fun in highlighting the repetition of icons in culture such as crowns, astronauts, demons and distorted figures. Avatars adopted globally, graciously reminding me we’re all connected. I wanted to capture this and more with a youthful cave-painting look, and leave the rest to the imagination of future archaeologists (if there are any).

At first my art felt juvenile, raw and unrefined. So I leaned into it. One day I realized if we anthropomorphized so much, then I could bring a similar effect to amorphous, geometric beings. I began to fill pages with strange figures, most times without a plan, like I was letting them in from somewhere else. I had to give this place a name, a place I call the “Woodlands”. Derived from the idea that we should reconnect with the purity of our natural being, and to reject the artificial facets of society.

Primarily I work with paint markers, nearby pens or anything close to the creative furnace. Sometimes it begins with a circle, the “portal”, and I let my hand do the rest. Using intentional strokes means I am forced to work with any mistakes, leading to new discoveries. Over time my art has found itself on walls, doors, other paintings and even tattoos. The last few years I’ve explored digital uploads of pieces. Perforating the tangible and digital world. The idea of these characters permeating into new realms excites me. If my characters can swim between worlds, maybe they can transcend into sound? Getting ahead of myself.