My practice employs realism as a means of psychological and ideological inquiry—an aesthetic that both reflects and distorts, appearing faithful while quietly unraveling that fidelity. Through an ongoing series of indirect self-portraits and observational works, I explore themes of survival, emotional exhaustion, and the search for meaning beyond mere endurance. This approach to realism resists literalism, favoring sensuous, imperfect truths shaped by memory, subjectivity, and transience.

Rather than affirming visual certainty, I use figuration to question it. Portraits of friends and acquaintances function less as likenesses and more as vessels for broader psychological states. The result is a form of intimate estrangement—where the familiar becomes uncanny and the boundaries between perception and imagination blur—offering a quiet challenge to the clarity and spectacle of the digital image.

Under the series title flock, I draw from my Roman Catholic upbringing to examine the entanglement of moral authority, institutional control, and media saturation. Devotional iconography is layered with the visual debris of popular culture, exposing how power shapes identity and disciplines the body through images. Here, realism becomes a critical tool—not a passive reflection, but an active resistance.

In a post-truth era, I see art as a counterforce—slowing time, restoring nuance, and resisting ideological flattening. My realism is unapologetically subjective and ethically charged, rooted in mortality, contradiction, and interiority. Rather than a tool of control, it functions as an unstable mirror—inviting ambiguity, emotional depth, and critical engagement.