My work is rooted in observation and a humanist understanding of the figure. Drawing and painting are ways of knowing—acts of sustained looking through which physical presence, psychological experience, memory, and identity can be examined. Traditional methods coexist with photography, digital technologies, print-based processes, and the circulating images of contemporary life, each extending and complicating what can be seen.

My practice centers on two interconnected bodies of work, POP and flock. POP examines how images accumulate and change meaning as they move through popular culture, photography, digital media, art history, and personal archives. Fragmented, translated, and reconstructed, they move between private memory and public recognition.

flock investigates collective belief and the structures through which communities establish belonging and shared identity. Rooted partly in experiences of religion and ritual, the work considers how institutional authority, nationalism, celebrity, and media employ images and symbols to acquire cultural and emotional power.

Across both bodies of work, images move between materials and technologies, rarely surviving these passages unchanged. Revision, distortion, material resistance, and the imperfections of memory become part of their meaning. Portraiture functions not simply as likeness but as a means of examining how individual identity is constructed, remembered, and transformed.

Ultimately, I am interested in what happens between seeing an image and believing in what it represents—and how sustained looking can expose, complicate, or unsettle the systems through which we understand ourselves and others.