My work explores how images shape belief and how belief shapes identity. Working across drawing, painting, print-based processes, and mixed media, I use the figure as a site where personal experience intersects with larger cultural narratives. Images develop through observation, layering, revision, translation, and reconstruction, retaining traces of uncertainty, change, and their passage between different sources and materials.

My recent practice centers on two interconnected bodies of work: POP and flock.

POP examines the visual environment that surrounds contemporary life. Drawing from popular culture, digital media, photography, art history, and personal archives, the work considers how images circulate, repeat, and accumulate meaning. Familiar forms are fragmented, translated, and reassembled, moving between private memory and public recognition. Through these transformations, POP examines how visual culture informs desire, identity, perception, and our understanding of the world.

flock investigates the formation of collective belief. Rooted partly in personal experiences of religion and ritual, the series has expanded to consider the structures through which communities establish belonging and shared identity. Religious iconography, institutional authority, nationalism, celebrity, and media operate as overlapping systems of symbolism, repetition, and emotional attachment. The work asks how images create communities, how symbols acquire authority, and how individuals negotiate autonomy within larger narratives.

Material translation is integral to these questions. Images move among drawing, painting, print-based processes, collage, transparent overlays, and digital and photographic sources. They rarely survive these transfers unchanged. Instead, images are disrupted and reconstructed according to the conditions of another medium, allowing different states, revisions, and modes of representation to coexist within the finished work.

Across the work, portraiture functions less as documentation of individual likeness than as a means of examining the relationship between individual experience and collective identity. Bodies and faces move between vulnerability and authority, the sacred and the secular, and private memory and public image.

Ultimately, I am interested in what happens between encountering an image and believing in what it represents. Through the deliberate processes of drawing, painting, layering, and reconstruction, I create images that resist immediate consumption and invite sustained looking. Rather than offering fixed conclusions, the work asks how images become embedded in memory, acquire cultural authority, and participate in constructing both individual and collective understandings of the world.